What inspired you to make this film?
Chouf is the third part of my Marseille trilogy. The first part, Bye-Bye, which came out in 1995, helped me discover the city from a cinematographic point of view. 12 years later, there was Khamsa, which brought me into contact with Romany kids and the teenagers on the disadvantaged northern housing estates. The experience of making the film was so strong, so rewarding from a human point of view, that seven years later I returned to Marseille to film Chouf.
Why did it seem important to explore the inner workings of a drug trafficking network?
These power games are the result of fratricidal wars in which so much blood is spilt in the poorer estates throughout the country. Our only insight into this reality is the one we get from the media. Chouf presents an alternative angle to this media viewpoint. It invites viewers into the other side of the looking glass. To put names and faces to these anonymous victims, to make them human.
The film shows the descent into hell of a young man dragged down by his environment. Why did you choose this angle?
I made the film to shed light on the social determinism that governs us all. Sofiane comes from a united family. His parents love him and have given him all the help he needs to go on to higher education. This intelligent young man has everything it takes to get on in life. His only two faults are to be of North African origin and to live on a sink estate. How can he escape this environment and social conditions? How can he resist the life that seems to be laid out in advance for him?