{"id":9721,"date":"2026-05-13T11:00:00","date_gmt":"2026-05-13T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/human-traffic\/"},"modified":"2026-11-09T07:14:59","modified_gmt":"2026-11-09T06:14:59","slug":"human-traffic","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/films\/human-traffic\/","title":{"rendered":"Human Traffic"},"content":{"rendered":"

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Un week-end \u00e0 Cardiff, sur les pistes dance de la fin des ann\u00e9es 90<\/h3>\n

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Le film commence un vendredi d\u00e9j\u00e0 en cours. Pendant deux jours, Cardiff s’organise autour de cinq amis qui ont d\u00e9j\u00e0 d\u00e9cid\u00e9 que la semaine \u00e9tait une erreur et le club est le seul endroit auquel ils croient encore. Human Traffic<\/em> (1999) de Justin Kerrigan passe quarante-huit heures avec Jip, Lulu, Koop, Nina et Moff – John Simm, Lorraine Pilkington, Shaun Parkes, Nicola Reynolds et Danny Dyer – qui parlent plus vite qu’ils ne pensent, d\u00e9testent leurs boulots et traitent le dancefloor comme une entraide plut\u00f4t qu’un probl\u00e8me moral. Le film refuse la le\u00e7on. Il veut l’ambiance, les lieux et le lundi d\u00e9j\u00e0 dans le couloir.<\/p>\n

Kerrigan a \u00e9crit le sc\u00e9nario \u00e0 peine sorti de l’adolescence et filme sa ville sans en faire une carte postale du vice. Pubs, files d’attente, toilettes, le chemin du retour sur St Mary Street : des lieux, pas des m\u00e9taphores coll\u00e9es. Ce que le film 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 de soin autant qu’une chimie. On se prot\u00e9geait sur les pistes parce que le reste du calendrier ne le faisait pas. Les blagues sont crues et locales. La peur de la descente est film\u00e9e avec la m\u00eame attention que le pic : signe que le r\u00e9alisateur \u00e9tait dans la pi\u00e8ce pour les deux.<\/p>\n

La bande-son est l’autre moiti\u00e9 de l’histoire. London Records a sorti un double album – le second disque mix\u00e9 par Pete Tong – et \u00e7a joue encore comme une radio de fin des ann\u00e9es 90 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 devoir illustrer une th\u00e8se. Les titres ne d\u00e9corent pas des montages de pilules ; ils structurent l’amiti\u00e9 le temps d’un set. Belfast<\/em>, surtout, porte la descente : une boucle qui \u00e9voque la lumi\u00e8re du matin \u00e0 travers un rideau bon march\u00e9, quand le club a ferm\u00e9 et que la ville n’est plus que Cardiff.<\/p>\n

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

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

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La critique \u00e9tait partag\u00e9e, ce qui convient \u00e0 un film qui ne demande pas d’\u00eatre approuv\u00e9. La formule de Leonard Maltin est juste : la voix off de Kerrigan est l’essai d’un jeune homme, parfois trop content de lui, souvent exact sur la honte, le sexe, le travail et la petite politique d’une bande de potes. Prix de festivals et nomination aux BAFTA sans que le film ne devienne un manuel. C’est un film culte au sens utile : une salle de gens qui reconnaissent la moquette, le dealer, le courage stupide et n’ont pas besoin que le film les condamne pour se sentir vus.<\/p>\n

Le cin\u00e9ma rave arrive en g\u00e9n\u00e9ral trop tard, une fois les entrep\u00f4ts devenus marques. Human Traffic<\/em> y \u00e9tait pendant que le week-end ressemblait encore \u00e0 un endroit \u00e0 part, avec ses disques et ses portes. Sur un site qui range techno et house comme des genres vivants plut\u00f4t que des accessoires de nostalgie, le film reste un document de la fa\u00e7on dont ces disques fonctionnaient dans une pi\u00e8ce : pas un fond pour un conte moral, mais le pouls qui a tenu cinq personnes jusqu’au jour. Quand le morceau s’arr\u00eate, Cardiff n’est plus que Cardiff. Le film ne pr\u00e9tend pas le contraire et il ne se moque pas des heures o\u00f9 c’\u00e9tait autre chose. Pour quiconque entend encore Belfast<\/em> ou un mix de Tong et se souvient d’un sol collant pr\u00e9cis, c’est ce week-end-l\u00e0, gard\u00e9 sans excuses.<\/p>\n

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