Thierry de Peretti builds a paranoid story against the backdrop of drug trafficking, inspired by a true story on the relationship between a police indicico and a journalist of “liberation”.
By Mathieu Macheret
After two films based in his native Corsica, the Apaches (2013) and a violent life (2017), Thierry de Peretti continues on the path of a fictional policy which allows him to touch the unrepresentable power in power Caressing his mythologies, this shadow part that Balzac called “the reverse of contemporary history”.
Investigation of a state scandal opens with a well -known formula of use, according to which situation and characters would be fictitious, and all resemblance to purely fortuitous reality. Oratory precaution which, recalling the right to imagination, designates in hollow the highly flammable matter which it manipulates. The story is in fact inspired by the François Thierry affair, former cacique of the anti -crop struggle suspected of having dipped in traffic, through the L’Infiltré book (Robert Laffont, 2017), that the journalist had fired Emmanuel Fansten and the witness Hubert oats.
Since it is a question of mythologies, they are first of all those of a certain genre cinema, namely the paranoid thriller, which Peretti holds in sight. In October 2015, Jacques Billard (Vincent Lindon), head of the Central Office for the repression of the illicit trafficking of narcotics, took a speech before his peers and sheds light on his policy: no longer focus on the product and let him pass Borders, to preferably strike the traffic infrastructure. But, at the same time, customs grab 7 tonnes of resin in two vans parked under the windows of a cannabis baron in the middle of 8 e district of Paris, Huppé district.
State traffic
Billard finds himself on the hot seat, summoned to explain himself before the public prosecutor (Valeria Bruni Tedeschi). It is then that Hubert Antoine (Roschdy Zem), obscure character who claims to have been an infiltrated with billiards, begins to speak to Stéphane Vilner (Pio Marmaï), journalist in Liberation, heavyly charging his former boss, according to him , at the head of state traffic. The newspaper follows, but Antoine’s words go far and suspicion appear as to his supposed mythomania. Wouldn’t Vilner be walking, or even instrumentalizing?
Party under the auspices of the thriller, the film lets the genre dilute in everything else, more daily: a profuse naturalism, made of Sunday meals, watered evenings, holidays by the water, where only count conversations on a human scale. Way of substituting a horizon of fictitious efficiency for this fabric profus of small human affairs, where “business” fades with a large a.
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