PostedMay 27, 2022, 3:10 p.m.
The ex-hip hop singer delivers her truth in a documentary presented Thursday at Cannes. But she was not physically present on the Croisette.
Diam’s confided in the microphone of “Brut.” on the occasion of the presentation of the documentary “Salam”.
Screenshot Brut./AFP /archives 2010
Scarifications, suicide attempts, internment, conversion to Islam, foundation for orphans: Diam’s, ex-star rapper, comes out of 12 years of media silence to deliver her truth in a documentary presented at Cannes, which she co-directed.
The one who was a central figure of hip-hop in France in the 2000s is not on the Croisette. “When you see this film and the life that Mélanie (her real first name) has decided to lead, you will understand that she might not physically lead it to Cannes, she is coherent,” said Thierry Frémaux, general delegate of the Festival de Cannes, in introduction to the Thursday evening screening.
“We love you!”
Now 41, Diam’s, whose real name is Mélanie Georgiades, however, sent a short video message, shown before her film, certifying that her absence “is not contempt or disdain”, but is part of in order to “preserve this little cocoon of simple life” that she has today far from show biz.
“We love you!”, launched the young spectators in the public, not or barely born when she monopolized the charts in France.
The documentary “Salam” (“Peace” in Arabic), apart from an incursion by Diam’s today into an empty Zenith in Paris, does not speak of music.
The forties presents herself veiled and covered from head to toe, face visible. The film is split into two parts: the unhappiness of showbiz times and the followingmath.
Crying behind the scenes
Diam’s and relatives first recount the suffering. We learn of a first suicide attempt at age 14, an extension of an irrational fear of the death of his mother, who is nevertheless still in good health and which is expressed in the documentary. Rap and success don’t help matters. “By dint of running in all directions, my life had none,” she asserts.
Vitaa, an artist who made his first parts, describes the tears of Diam’s backstage following triumphal concerts. His former manager recounts the scarifications on the arms and face.
A psychiatric internment is necessary. “They put me out with the drugs,” says Diam’s. Upon his release, we understand that there will be another attempt to end his life.
Conversion to Islam
The turning point of the conversion to Islam occurs when, during a girls’ evening, one of the guests isolates herself to pray and Diam’s, who nevertheless grew up in Catholicism, follows her.
The ex-rapper, mother of three children, claims to have then converted alone to Mauritius where she had gone on a trip with Vitaa. As a response to those who said she was indoctrinated when the photos of her, veiled, in “Paris Match”, had created a stir ten years ago.
bias
The biases of staging are assumed. We only see the relatives who testify in the first part, which is quite dark, only the faces, as if they themselves were veiled.
“We see the truth of the faces, we tighten up on the silences, the smiles, the tears, which is also perhaps a way of making people forget her veil and the (long) garment she wears when she appears”, estimates with AFP Anne Cissé, one of the co-directors (with Diam’s and Houda Benyamina).
“A choice of life”
The second part of the film corresponds to the conversion of Diam’s and her foundation dedicated to orphans in Mali, even if, as she says to the Parisianshe lives in the United Arab Emirates.
Diam’s took the opportunity to clear up any accusations of proselytism. The former singer points out that her conversion resonated with a “life” choice rather than ending it, like other artists at the end of their rope, by gun or syringe.
“Generally, artists are no longer there to tell us why they fell into addictions, like Amy Winehouse, why they shot themselves in the head, like Kurt Cobain”, she slips in “Le Parisien” .
(AFP)
