The fiction of Philippe Triboit, awarded in many festivals, deals with a delicate subject and rarely addressed about men.
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Young business lawyer just appointed Associate of the Crested Cabinet for which he works, Vincent Sorrento (Yannick Choirat), married and father of two children, must plead in the provinces. The day before the hearing at the hotel bar where he went down, he started a discussion with another customer with whom he binds from friendship by drinking force beers. The next morning, Vincent finds himself naked on his bed with a tached sheet of blood. His physical state tells him that he has been violated after being drugged without his knowledge, while his psychic state refuses the facts: Vincent is silent.
But the trauma experienced soon transforms this open and peaceful man into brute: fearing the homosexuality of his teenage son, an apprentice lyrical singer, Vincent imposes on the latter the toxic masculinity that his own father had made him undergo in his youth.
While he sees everything collapse, in his couple, his family and his professional life, Vincent will go through the difficult stages of a personal reconstruction: the family and public admission, the taking of a complaint by a vulgar policeman (replaced by a police officer attentive, more sensitive) and, finally, the trial that gives Vincent against his aggressor that the investigation has made it possible to find.
Convincing realization
Philippe tribes, to whom we owe many telefilms and television series – lawyers and associates, gears, a French village, Guyana, etc. -, built, from the effective scenario and dialogues of Pierre Linhart, a convincing realization. The comedians just play, like Anne Marivin who embodies the wife of Vincent.
The Telefilm has received numerous awards: price of the best male interpretation for Yannick Choirat at the Rochelle 2019 TV Fitime Festival and at the Luchon 2020 Festival, award for the best director at the Luchon 2020 festival, the best price Telefilm in Venice TV Awards 2020 …
Despite the general accuracy of the tone and the realization, one felt that the psychological path mentioned by an abmedy man stands a little cramped in the four-ten-minute format: we would have For example liked a deepening of the relationships of the main character with his father, and a less expeditious psychotherapeutic treatment.
Did it, however, make a telefilm longer, or in two parts, or even a miniseries, at the risk of stirring a little what is right underlined? In the state, an abmedy man comes under the traits of a production for the general public who deals with subtle a delicate subject, and more difficult to audible in the context #metoo of sexual violence against women. Which probably explains its first broadcast about four years after turning.