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François Bégaudeau |
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« À supposer qu’ils habitent la même ville, Louisa Makhloufi et Romain Praisse y resteraient-ils encore cent ans que la probabilité qu’ils se croisent, s’avisent et s’entreprennent resterait à peu près nulle. En sorte que si l’une des 87 caméras de surveillance installées en 2004 par les techniciens d’un prestataire privé de la mairie les voit se croiser, s’aviser, s’entreprendre, ce ne sera qu’à la faveur d’un dérèglement des trajectoires lié à une conjonction hasardeuse de faits nécessaires. »
Dans une France contemporaine fracturée, François Bégaudeau met en regard violence économique et drame personnel, imaginant une exception romanesque comme pour mieux confirmer les règles implicites de la reproduction sociale.
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Cristiano Cunhal, a worker who becomes depressed after having been fired from his job at a (soon to be demolished) factory, commits suicide in a dramatic manner when he discovers that his girlfriend, Louisa Makhloufi, is having an affair with Romain Praisse, a man from a privileged background she met by accident in a bar. From then on, each can ask himself : is this a personal tragedy of a man who has been abandoned by his companion, or the collateral damage of a redundancy plan that pushed an unemployed to the ultimate extreme ? This cruel dilemma will feed Louisa’s and Romain’s feelings of guilt and tighten the bond between them, until they feelcompelled to seek vengeance, by any means, for the lost honour of the sacrificed worker.
In a contemporary and divided France, François Bégaudeau puts side by side economic violence and personal tragedy, imagining a novelistic exception to confirm the implicit rules of social reproduction.
“Pleasurable ! François Bégaudeau shapes a social, lyric and almost religious comedy, in mind of Frank Capra’s movies, about the living it together and the violence in our society. It feels good to laugh about graves subjects.” (ELLE)
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