{"id":9721,"date":"2026-08-29T11:00:00","date_gmt":"2026-08-29T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/human-traffic\/"},"modified":"2026-08-29T11:00:00","modified_gmt":"2026-08-29T09:00:00","slug":"human-traffic","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/human-traffic\/","title":{"rendered":"Human Traffic"},"content":{"rendered":"

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Le week-end comme un pays<\/h3>\n

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Le vendredi n’arrive pas tant qu’il atterrit, et Cardiff se r\u00e9arrange autour de cinq amis qui ont d\u00e9j\u00e0 d\u00e9cid\u00e9 que la semaine \u00e9tait une erreur. Human Traffic<\/em> de Justin Kerrigan, sorti en 1999, passe un week-end avec Jip, Lulu, Koop, Nina et Moff, jou\u00e9s par John Simm, Lorraine Pilkington, Shaun Parkes, Nicola Reynolds et Danny Dyer. Ils font des m\u00e9tiers qu’ils m\u00e9prisent, parlent plus vite qu’ils ne pensent, et traitent le club comme un poste-fronti\u00e8re. Le film refuse le cours. Il s’int\u00e9resse \u00e0 l’ambiance, aux salles, au lundi qui attend d\u00e9j\u00e0 dans le couloir.<\/p>\n

Kerrigan, \u00e0 peine sorti de l’adolescence quand il l’a \u00e9crit, filme sa propre ville sans en faire une carte postale du vice. Les pubs, la queue, les toilettes, le retour \u00e0 pied dans St Mary Street : ce sont des lieux, pas des m\u00e9taphores coll\u00e9es. Ce que l’image comprend, et que des films plus s\u00e9v\u00e8res sur les m\u00eames ann\u00e9es ratent souvent, c’est que le week-end \u00e9tait une forme d’entraide autant qu’une chimie. On veillait les uns sur les autres sur les pistes parce que le reste du calendrier ne le faisait pas. Les blagues sont crues et locales. La peur de la redescente est film\u00e9e avec le m\u00eame soin que le pic, ce qui prouve que le metteur en sc\u00e8ne regardait.<\/p>\n

La bande-son est l’autre carte. London Records a sorti un double album, le second disque mix\u00e9 par Pete Tong, et cela joue encore comme une radio de la fin des ann\u00e9es quatre-vingt-dix qui faisait confiance aux danseurs. Build It Up, Tear It Down<\/em> de Fatboy Slim, Belfast<\/em> d’Orbital, Kittens<\/em> d’Underworld, Caf\u00e9 del Mar<\/em> d’Energy 52, Carl Cox, Armand Van Helden, Never Believe<\/em> de Dillinja, Death in Vegas, Come Together<\/em> de Primal Scream. House, techno, drum and bass et big beat partagent une nuit sans qu’on leur demande de repr\u00e9senter une th\u00e8se. Belfast<\/em>, surtout, est le saint patron de la redescente : une boucle qui a le go\u00fbt de la lumi\u00e8re du matin \u00e0 travers un rideau bon march\u00e9.<\/p>\n

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\n

Un film d’\u00e9crivain s’il en fut.<\/p>\n<\/blockquote>\n

(Leonard Maltin)<\/em><\/p>\n

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La critique s’est divis\u00e9e, ce qui convient \u00e0 un film qui ne demande pas \u00e0 \u00eatre approuv\u00e9. Leonard Maltin l’a appel\u00e9 un film d’\u00e9crivain, et la formule est juste. La voix off de Kerrigan est la dissertation d’un jeune homme, parfois trop contente d’elle-m\u00eame, souvent exacte sur la honte, le sexe, le travail et la petite politique d’un groupe d’amis. Le film a ramass\u00e9 des prix de festivals et une nomination aux BAFTA sans devenir un manuel. C’est un film culte au sens utile : une salle de gens qui reconnaissent la moquette, le dealer, le courage stupide, et qui n’ont pas besoin que le film les condamne pour se sentir vus.<\/p>\n

Le cin\u00e9ma rave arrive d’habitude en retard, une fois les entrep\u00f4ts devenus des marques. Human Traffic<\/em> est arriv\u00e9 pendant que le week-end avait encore l’air d’un pays avec son hymne et ses gardes-fronti\u00e8res. La techno et la house, sur ce site et dans ce film, ne sont pas un fond pour un montage de pilules. Elles sont l’architecture de l’amiti\u00e9 pendant quarante-huit heures. Quand le morceau s’arr\u00eate, Cardiff n’est plus que Cardiff. La gentillesse du film est de ne pas pr\u00e9tendre le contraire, et de ne pas ricaner des heures o\u00f9 c’\u00e9tait autre chose.<\/p>\n

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