“
We love you!
», shout in the room of the young women.
Diam's disappeared from the musical radar ten years ago but those who chanted
La Boulette
and
DJ
in their youth have not forgotten it.
The Cannes Film Festival hosted this Thursday the screening of
Salam
, the documentary directed by the ex-rapper with Houda Benyamina (
Divines
) and Anne Cissé for the BrutX platform.
If Mélanie Georgiades had initially considered going to the Croisette, she finally changed her mind to stay consistent with her life choices.
“
To preserve its cocoon
”, she specifies in a video message intended for Thierry Frémaux and projected before the broadcast of the documentary.
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Mélanie Diam's, as she is now called, decided to tell her story by herself.
So his sufferings.
When his career reached new heights, "
existential pain
" suffocated him, pushed him to suicide.
The musician says she was interned in 2008, where a diagnosis falls: bipolar disorder.
Disease, which often appears at the end of adolescence and in which brutal periods of depression alternate with bursts of energy.
Since she recounts this period bluntly, the former rapper could have come back more on her experience and the question of the management of psychological illnesses.
The stolen photo of
Paris Match
Only, Mélanie Diam's did not find the cure thanks to the doctors (apart from this practitioner who helps her to lower her consumption of drugs), but thanks to "
Allah the All Merciful
".
The documentary focuses on his encounter with Islam, during a meal with a friend, and his reading of religious texts in Mauritius.
“
I learned to love Creation and therefore its Creator
“explains Diam's, now calm, particularly smiling.
All drone outside, the directors film giraffes, fish and sunsets.
They fear no theatricality.
God, we understand, will have given the forties a feeling of adequacy with existence.
It would no longer be meaningless.
How does religion affect mental illnesses?
This chapter would have been interesting to open.
Mélanie Diam's, who had been until confirmation in the Catholic rite, does not explain her choice of Islam, of this dogma marked by a "
hypertranscendence
" to use the term of the Islamologist François Jourdan.
She prefers to insist on the peace that surrounds her practice.
Then comes the subject of the photo published in October 2009 in
Paris Match
, where the singer appeared veiled at the exit of a mosque.
Proof of the sensitivity of the subject, the media had entered into turmoil, fans considered themselves betrayed.
Mélanie Diam's, she did not know where to turn, still groping at that time.
The media violence will result, she says, in increasing her belief.
This is the most interesting moment of this overly hagiographic film in which she ultimately reveals very little.