It takes an enormous dose of talent, and also courage, to tell the story of the ravages of drugs in the imperial city with such enthusiasm and aesthetics. The darkness of the Ajactian nights is a reality that Toussaint Martinetti brilliantly illuminates from his director’s chair, in The strong don’t say anything. The filmmaker presented his first film, a 35-minute short film, on Saturday, January 6 at the Laetitia cinema.
And judging by the enthusiastic applause that marked the session, Toussaint Martinetti’s art of storytelling largely won over the audience.
Excellent Julia Raffini and Guillaume Arnault.
The strong don’t say anything tells the story of Pierrot, a widower in his forties, who raises his sixteen-year-old daughter alone, swept away by the night and his vultures as soon as he leaves his cramped apartment in the Salines neighborhood. The imperial city, sublimated by the director’s camera, is a character in its own right in the film. We follow the nocturnal adventures of Victoria (the excellent Julia Raffini!) on the arm of Damien, the merchant of good establishments (the perfect Guillaume Arnault), to the powerful rhythm of electro music that grabs the insides. Simultaneously we climb into the garbage truck of which Pierrot mechanically controls the steering wheel before dawn, lulled by the sounds of the series. gomorrah.
The strong don’t say anything It is an artistic jewel that compiles the references “lourdes” By Toussaint Martinetti. In the turn of each shot, as careful and profound as Caravaggio, one senses the influence of James Gray (Toussaint Martinetti says so!), the shadow of Martin Scorsese in his early days (bad streets) or the stylized silences of Nicolas Winding Refn (Drive). Impossible, knowing the tastes of the filmmaker, not to detect the analogy ofonce upon a time in the bronxThis story of a protective father (Robert De Niro) who tries to divert his son from the horrors of bullying.
The strong don’t say anythingIt is also and above all the touch of a director who reveals himself, after twenty years of acting (Marseilles, A violent life, Fraté…).
Each director’s shot is a master painting, where sins are suggested. This dive into the world of holiday drugs reveals no white powder, no gauge, not even cash. It is through the force of evocation and poetic staging that the director tells the story of the unacknowledged excesses of an Ajactian society vampirized by drugs. The short film is marked by a succession of elliptical and intense scenes, where the dialogues fade away to make room for emotions and accompany each character towards their inevitable destiny. The bar scene, in which wonderfully sober former GFCA player Laurent Muselli is a model. It is just one of the pieces of a dream puzzle that ends on the shores of the Gulf of Ajaccio.
The first attempt is a masterstroke.