After Part of it was noticed At the last Cannes Film Festival Supreme, The biography of the rap group NTM, hits theaters this Wednesday, November 24th. The film was directed by Didier Morville (Joystar) and Bruno Lപ്pez (Cool Shen), who made their debut on January 24, 1992 in Zenit-Saint-Denis, Paris. “We take the rap out. On the ground, we bring it to light, to the highest,” concludes Audrey Estrogo.
Under his leadership, Supreme From the first minutes of the story it stands apart from other biopics, anchoring in tangible reality. We members of the Supreme NTM collective graffiti see the title of a movie on a metro. A scene shot in the spirit of the group:
“Knowing we should not shoot in the metro, it was important to start with the movie underground. We were cunning, we played bandits, we chased, we worked with the police, we destroyed, we painted, we painted a metro in the colors of the 1980s and 1990s, and we banned it. Everything was done illegally.
NTM in the workplace
Supreme, Co-written by Audrey Estrogo and Marcia Romano, and later supervised by Joystar, Cool Shen, and DJS. But Audrey Estrogo shows them at work, holding a ballpoint pen in their hand and sweating through the pages of their notebooks. As if emphasizing the importance of this pioneer couple and their innate ability.
https://www.youtube.com/embed/gebxTdDkWzA?rel=0 “They invented rap!”, the director insists. “They invented a language, a way of writing the world, a way of singing it, a way of punching it. It’s remarkable. Twenty year olds have such a pen, such a reflection, such a form. I wanted to put forward the abundance of their books.
Seeing Audrey Estrugo Supreme As “a bridge between past generations and the present”, “to question yesterday’s world through today’s prism”: “After all, this film is about the terrible abandonment of policies towards this youth. We never wanted to hear what NTM was. We never wanted to consider them musicians.”
It’s over Supreme, The film is always in motion, except when confronted by group authority figures (labels, Joystar’s father). “I want movement, because we’re talking about a youth full of hope, convinced that things will change. This energy needs to go through the screen, that touches the viewer, because that’s what this group does not have. The same identity as others.”
Find the right actors
To transfer this energy, we had to find the right joystar and cool shen. After a long process of about six months, she decided on Theo Christine (Joystar) and Sandor Fundek (Cool Shen).
https://www.youtube.com/embed/jog-RQRwgFo?rel=0 “I wondered if I needed rappers or singers. I had this idea to do real life. You have to be able to go on stage and be with me artistically. Otherwise, I’m going to be rejected by the movie In the end I chose two actors who had never rapped, but who were capable of doing the work needed to achieve this result.
It took Theo Christine and Sandor Fund a year to study rap as they did thirty years ago. “It’s a different way of breathing and speaking,” says the director. “I rejected today’s rapper actors who were totally in trouble for making old NTM tracks. It was not their flow, not their pen, not their music.”
The closeness of the two
In order for her actors to fall into the skin of their characters, Audrey Estrogo first persuaded them to study from 1998, “before erasing anything unrelated to stories from the 1990s, they are the most complex”. JoeyStarr and Kool Shen were not far from advising them: “They did not train them, but they were there for us. We had to see them at the residence as we prepared for their final tour.”
https://youtube.com/watch?v=_7No3IyfMUI%3Frel%3D0
NTM is more than just a story of music. The film logically explores how to better understand the intimacy between the two. “Bruno was more than Didier’s musical colleague,” explains Audrey Estrogo. “He was her landmark, her rock, her father somewhere.”
Theo Christine is most notable for his abusive father-smashed joystar. “He’s still old enough to ignore everything he does,” says Audrey Estrogo. “He goes unnoticed in emotions. It’s a joy when you’re a director, he’s not producing. He’s really lived the scenes.” We should hear about him in Caesar in February 2022.
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