India Cemetery: “The Real Detective was a Source of Inspiration” … The script author tells us everything about the new channel series

This Monday, April 7, Canal+ launches the Indian Cemetery Broadcasting, its new detective series, created by Thomas Bidasine (Emilia Perez) and Tibul Vanhul. Worn with Mouna Soualem and Olivier Rabourdin, this original thriller makes us travel between two eras.

In 1995, Lydia, an anti -terrorist young ambitious recruit, was sent to the Peran, to test the Imam Scalp, with Jean, with a frustrated gendarmerie, with the memories of the Algerian war.

25 years later, the former mayor of Peran was killed. At the same time, Jean is mysterious. Lydia, who became a prefect, then returns to the region to try to find it. Then he will have to face the past that he was finally buried.

The day of La Rochelle Fiction Festival, which was held last September, is separated from one of the writers of India Cemetery by Tibul Vanhulley, to discuss the series and its inspirations.

Separation: How was the Indian Cemetery Born? Where did the idea come from?

Thibault vanhulle : Canal+ was eager to make the thriller in two times. And from there, we had a cart blossom. Along with my co -author Thomas Baddin, we both fell in love with the genre.

We wanted to tell you, through the two eras, in modern France, taking into account the dialogue of the two eras, which should be said. This is how the desire to place this story was born, France Perry -Burban, which is relatively less visible on French screens.

We wanted to think about great events since 1995. We did not want to do something didactic between the two eras about the great French development of discourse, but simply say it was a 95 -year -old illusion and hopes for the modern French situation through the transfer of the territory.

This is the sociological and social framework of the series. Which was very important to us is the respect of genre codes and conventions, but also to show the sociological developments of France.

The series is based on two stories, the past, and the present that they continue. How not to get into brushes and keep a consistent story for the viewer?

I am not saying that these two times are exogenous towards the other, but we have developed two stories on the side of each. We created a history in 1995, which is done in a linear and chronological way, and we did the same for the modern period.

Then, we tried to count things so that they could talk effectively and also so that the pictures were opposed to one atmosphere from another and from one character to another.

For example, Lydia of the past is strongly opposed to the system and is full of ideals when it has become a prefect 30 years later, and it is much more rigid. These are things that happen in writing, but eventually, over time the passages are mainly in the assembly, which allowed us to decide on two eras slightly more difficult, slightly richer and a little more rhythmic.

Thus, it is primarily the work of the assembly and achievements that will make it possible to get the result, which is understandable and dynamic.

How did you make the 90’s to decide, and especially the usual racism, which was present at the time, without falling into the clutches?

Along with Thomas Bedegain, we each supported our memories and feelings that were not the same. So we finished. We did not experience the same places in the same places, so our experience was enriched in the late 90’s.

We also returned to the films of that time. It was interesting how the topic of racism was discussed. We talked a lot about France “Black-Blanc-Beur”.

There was a kind of emulsion, even perhaps the illusion, the fact that living together, plillate and multicultural life would work that digital was going to survive.

It was something that was close to my heart. To find out how part of the confrontation and hopes were seized over time. For example, September 11 has not yet happened in 1995. The world came to an early age at the beginning of the 21st century that broke during this period.

What is very surprising in the series is the way to commit a crime. The victim is really a victim of the scalp. This is what is not widespread in France. How did this idea come from?

Unfortunately, I can’t say too much because we learn the origin of the scalp and this gesture in the series late. I think this was probably a desire because it is what is fundamentally not local and not modern in this archaic gesture of another culture. But I wouldn’t say more because I would like to remain a secret before the announcement.

The series has a special atmosphere that almost reminds us of the American series on the Mexican border. What was your inspiration when writing a series?

The American series was clearly inspiration during writing. On the other hand, when we talk about the visual atmosphere, it is Stéphane Demoustier and Farid Bentoumi, two directors who created this range.

Anglo-Saxon influence, and especially American, is undeniable. To be honest, I grew up and developed a thriller culture that was of descent throughout the Atlantic. The true detective, especially Season 1, was obvious in the source of inspiration in this somewhat adhesive poll, in the natural environment and as hostile, but grand.

When I started working on the series, I told myself that we often envy Americans to have the natural opportunity to shoot crazy things. And by studying the area around Marseilles, outside the city, I told myself that we had to do it in France too.

We also have the opportunity to do slightly liquor and a little stylized things. This is no less well copied, but we also have a very rich, sometimes hostile, rocky nature and quite crazy fauna and flora.

Find the first two episodes of India Cemetery this Monday, April 7, from 9pm. On the channel+. Broadcasting then goes to an unprecedented episode in the evening.