Presented in the Official Selection in the Un Certain Regard section, “Salem” is the second feature film by Jean-Bernard Marlin after “Scheherazade”. Meeting with a filmmaker who sublimates reality and transforms complete strangers into movie heroes.
Shéhérazade, his first feature film, had the honors of Critics’ Week in 2018, and had triumphed at the César a few months later. Jean-Bernard Marlin returns to the Croisette this year with Salem, a second feature film presented in the Official Selection in the Un Certain Regard section.
Just like for Shéhérazade, the filmmaker chooses to situate the action of his film in the popular districts of Marseilles, made sadly famous for a few years by a series of assassinations linked to drug trafficking. Marlin embraces this reality, but chooses to sublimate it with the help of his actors, all amateurs, and a particularly inspired director of photography, Jonathan Ricquebourgn. And for this new opus, the director grants himself an incursion into the fantastic.
Meeting in the heat of a Cannes day with Jean-Bernard Marlin.
AlloCiné: How did you find your actors?
Jean-Bernard Marlin: I spent eight months in random casting in the northern districts because I wanted to play actors who understand my film, actors who know the reality I’m talking about. We then did several months of internship, where they learned to play in front of a camera. And at the same time, it allowed me to determine the ideal role for each of my actors.
It’s a habit with you to direct non-professionals…
Yes, in all my films, there are amateurs. I have an immoderate love for all non-professional actors.
And you take these actors rooted in their reality to invite them into your world, a universe that sometimes turns fantastic.
I wondered if I was going to make it. We start from something very documented and rooted in reality. And we go little by little in the reflection, in the inner world of Djibril (the hero of the film, Editor’s note) and in the fantastic. And there, the work with the actors, it was the share of magic. And in fact, it works very well. With Oumar Moindjie (Djibril), we looked for the right tone, the madness of the character.
Why this choice of the fantastic?
I wanted to take a risk, to evolve my way of making a film and to go towards things on which I am less comfortable. In summary, going a little outside my comfort zone. Because otherwise it’s not very interesting, and you get bored. And I’m afraid of boredom. While there, I am in the process of discovering things that I have less control over about emotions. And for the next film, I will still want to see different things.
What was the part of improvisation?
There is no improvisation, everything is already written. I am often asked the question, and the answer is always the same: zero improvisation.
Your film shows violent scenes…
I try to film violence as accurately as possible, without any fantasy. The important thing is to be real. Where is the truth ? Where is the best place to put the camera? These are the questions that I ask myself in each scene. Sometimes I make a mistake, and I start over.
Did you have any cinephilic references in mind for Salem?
I had two. I’m not a big fan of William Friedkin but I do recognize that The Exorcist was an influence. And the other film is Apocalypse Now, for the hypnotic trip side.
Salem will be released in French cinemas on August 30, 2023.