For his first feature film entitled SELLER, Sylvain Desclous has the merit of addressing a subject little explored in cinema. It immerses us in the very particular universe of sellers, in the case of kitchens, which generally arouse a degree of mistrust among customers, having regard to their duty performance. With a lot of recoil and accuracy in the analysis, it immerses us literally in the middle of a captivating way, unveiling both the next exciting skilled in the art that the vice which it involves and the many personal sacrifices to which it leads.
SELLER this is the story of Serge (Gilbert Melki), an “extra” being paid handsomely to move from one store to another in order to boost sales. A highly effective, its benefits provide an immediate return and give him a wide recognition from his peers. Constantly on the road, leading a life very solitary, solely focused on his work. Until the day when his son Gérald (Pio Marmaï) asks him to introduce it momentarily in this environment to help overcome some financial difficulties. Although it is at once skeptical about the abilities of his son in this field, and fearful about the fact that he can take a liking to it, Serge eventually offer a helping hand. It will, however, quickly by regret and will be forced to resume his role of father if long neglected.
Undoubtedly, the talent of Sylvain Desclous is here for us to embark fully in a world that is very particular and little glamour. In fact, the world of Serge, like his life, is a little off : halfway between the mafia and the “lonesome cowboy” of the 70s, a very special atmosphere is created through the choice of his car, his costumes, the music, and this light a little bit yellow. Then by the fact that he is a drug addict, that he would use prostitutes to fill the loneliness of a life that takes him from city to city, of hotels in hotels and fairs in salons more glaucous than the others (although the aesthetics of the decorations have been treated to mitigate this effect). All this could appear excessive, the intent of the director is to create a kind of fictional character. Unfortunately for him and fortunately for us, in spite of all of this, Serge could not have been more credible and more like an ordinary man, a little singular that in a cartoon. This is without a doubt the realism of the dialogue, the storytelling, the “unpack” used to sell the product, the persuasive techniques employed. Everything is so fair that some are likely to feel a sensation of ” already seen “, or rather, already ” lived “. This last point could even reveal a slight discomfort in those who recognize themselves to have been fooled by certain manipulations against them. There may not be a scam, as said by Serge, his son, ” I entube person, I sell something to someone who needs it “, but the fact of realizing that one has been pushed to the purchase by without noticing and, contrary to what we had imagined, without treatment, or favour particular, can leave a sense of bitterness…
This being the case, the credibility of the character and beyond that of the film in its entirety, are also based clearly on the delivery Gilbert Melki. Very intelligently chosen for the rarity of his appearances in the cinema, this makes it easy to actually identify. He played with a natural unheard-of this role which required both charisma and retained : in the image of this man who performs in public in the sympathy of customers and the admiration of his colleagues, but also of interiority linked to his personal solitude. With correctness and precision, he interprets this as a man who has an awareness of the poverty of emotional of his life. This man who has enough distance on himself to seize the opportunity to restore meaning to his life through the authorship, and it is in this way that he touches us.
“SELLER immerses us literally in a midst of captivating way with the unveiling of both the next exciting skilled in the art that the vice which it involves and the many personal sacrifices to which it leads.”
What is striking of realism and hardness, these are still the scenes of a coaching business which makes it a performance in worship, and most importantly, condition sinequanone retention. Regardless of the affect or the human, only the revenue account, it is ” sink or swim “. We feel at once to establish the pressure, the fear and the absolute rejection of any personal considerations.
Finally, the quality of the scenario and the implementation are also based on the psychological analysis is very well perceived and translated for the journey of the son, Gerald. One could say that it is a little tired to see Pio Marmaï again in the role of a thirty year old’s looking for, but it must be acknowledged that he does it so well that we forgive him…
Through his interpretation, we can also see easily the evolution of this young man and the reasons that induce its change. It is very clear that one feels at the departure of the frustration linked to failure and one understands the reluctance to embark in this comedy that is the sale, in this role that the vendor must play to seduce her client and develop trust. Then one perceives the moment where everything shifts, pushed by pride and the return instinctive feeling heady conquest. You see come the addiction to the power exercised on the other, this subtle persuasiveness, this illusion of power that creates the ego. And then of course the lure of gain, the money starts to roll in, and lose sight of the fundamental values that make a successful professional life is not enough to make them happy.
We regret, however, that Sara Giraudeau is too little exploited, because his character would have been able to bring more to the scenario. In the state, his interest might appear a little too subtle in the eyes of the beholder…
At the end of the account, SELLER will remain a gamble because it was not obvious to propose a film attractive in the middle of industrial areas and shops kitchen. Nevertheless, it follows a certain depth of humanity of this film, the clarity of the central character of his condition, his choice of life and the quality thereof. There is something interesting in the fact that it is the fatherly motivation for the change, who wakes up in a man a sensitivity long buried in a mechanical existence.
AGREE ? NOT AGREE ?