in the city of sweet deliriums by Jean-Pascal Zadi

in the city of sweet deliriums by Jean-Pascal Zadi
Jean-Pascal Zadi during the shooting of the series


If we hung out on YouTube in 2018, we could come across Ernesto, a large elastic body, vague eyes, afraid or astonished, tossed from disaster to disaster. Ernesto fears, what falls on him fears even more. Craig’s, the title of the web series in which he was the hero, met all the criteria for honesty. And Downright fearful, the sequel put online this March 19?

Before finding our hero again, in a bad posture as it should be, we can fear that the rest of Ernesto’s misadventures cannot be viewed with the casualness of three years ago. In the meantime, Jean-Pascal Zadi has directed and performed Simply black, a political comedy (an almost non-existent genre in France), moved the crowds, won a Caesar, unleashed the critics by using this award to seriously say what he said jokingly in his film.

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Not only has the author become a prominent figure, but his microenterprise has evolved into an SME of a respectable size. It is the France Télévisions platform that hosts it, the episodes are longer and if the historic broken arms (Zadi, Jérôme Guesdon, Lotfi Labidi) are there, the cast is embellished with luxury guests, Rossy de Palma or Eric Judor. Did Ernesto become gentrified?

Rhythm relaxed

It only takes a few minutes to be reassured (or disappointed, if one aspired to a blockbuster). This world of neat cities (we are in the south of Val-d’Oise), where ordinary existences and crappy deals coexist, this mixture of situations borrowed from reality and delirious comic constructions, this distended rhythm have lost nothing of their charm.

Ernesto had been left in the hands of thugs anxious to recover the 100,000 euros that this big child had inadvertently mislaid. Saved by the intervention of a walker who, miraculous coincidence – in terms of coincidences, Jean-Pascal Zadi is among those who think that Charles Dickens was not going strong enough -, is also a childhood friend of the hero, Ernesto and his friends go on a hunt for tickets. Carried out without any concern for plausibility, it will take them both in the mobile home which serves as a laboratory for a researcher not very concerned about the health of his guinea pigs (Eric Judor) as in a television studio where a bearded host of three days (Sébastien Thoen) encourages his guests to utter the worst ignominy under the guise of social debate.

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