Opening 2 Mar 2017
When things heat-up with rival rapper Sphinx (Kouyaté), the rising star’s producer insists Far’Hook (Sadek) lay low, and Bilal (Marétheu) has the perfect plan. Extenuating circumstances dictate Bilal remain in Paris, so he inserts Far’Hook into a prearranged pilgrimage with Serge (Depardieu). No fool when it comes to his welfare, and with an important concert on the horizon, Far’Hook agrees. Still, within minutes of meeting Bilal’s old man, the father/son contrasts are overwhelmingly obvious. Serge is a racial bigot, xenophobic chauvinist, who talks in clichés. Far’Hook is fixated on his music; nevertheless, “don’t judge a book by its cover.” Somewhere along their route tracing Claude Joseph Vernet’s painterly ports, and sometimes forced by circumstances, their stereotypical attitudes shift, blur. Particularly, commingling feminine (Grinberg) charm, whereby leading to lust, and desire. Pushed by Serge, Far’Hook takes a detour; still, all roads lead to Marseilles, where comeuppance and rewards alike await.
The film delivers a captivating detour: rhythmical directing (Rachid Djaïdani) and acting, music (Clement Dumoulin), and strong production values. Subsequent screenings in 2016 included FilmFest Hamburg and Festival de Cannes. Pointedly confrontational with in-you-face insults it pokes steadily at growing social issues. Providing the pivotal enjoyment is the curmudgeonly amateur painter and gifted but awkward kid’s perceptional learning curve. Even Gérard Depardieu’s rapping reminds how good his acting can be. Besides learning a lesser-known artist’s historical connection, and about French harbors’ traditions, this tour concerns understanding dualities. “We’re not different, just separated.” (Marinell Haegelin)