Released in October 2021, Never Show That to Anyone has delighted a wide audience, from early Orelsan fans to an audience a priori less sensitive to the artist’s career – or even to rap in general. If the documentary series has had such an impact, it is, on the one hand, thanks to the archives of more than twenty years amassed by Clément Cotentin and, on the other hand, thanks to a production (co-signed Christophe Offenstein) and an editing (with six hands, with Hugo Lemant and Maël Lenoir) meticulously worked and acclaimed by critics. And although, “to film, [on ait] just need something that films”, a little inspiration never hurts. Director Clément Cotentin entrusts a long-standing passion for documentaries and took advantage of crossing Kyan Khojandi’s microphone to share the names of some of his favorite documentaries. notes from your phone, to discover the inspirations of Never Show This to Anyone and, why not, to make you want to create your own work, here are six outstanding documentaries to (re)discover.Dig! By Ondi TimonerWhen she was only in her early twenties, Ondi Timoner began following, armed with her camera, two rock bands who respected and admired each other, at least in their early days: the Brian Jonestown Massacre and the Dandy Warhols. In particular, the frontmen of each of the groups, Anton Newcombe and Courtney Taylor, and their artistic choices are highlighted. Retracing seven years of friendship, drama, clashes and “creative psychosis”, the film presents two diametrically opposed ways of live your art: the choice of industry on the one hand, the radical rejection of the latter on the other. Ondi Timoner wrote, directed, edited and produced this documentary without complacency or bias. Awarded at the Sundance festival in 2004, the film is now part of the permanent collection of the Museum of Modern Art in New York. Clément Cotentin’s flagship reference, the film tickled his competitive spirit since he remembers having been marked by the time that the director had spent following friend-foe groups: “I said to myself: ‘If it’s been seven years, I can’t do less.'” Record broken thanks to the twenty years retraced in the first season of Montre never do that to anyone. All that remains is to bring the series to the Pompidou Center.Billie Eilish: The World’s a Little Blurry by RJ CutlerThe list of commonalities bringing Orelsan, a 40-year-old rapper from Normandy, closer to Billie Eilish, a twenty-year-old Californian star his youngest, seems short. However, the documentaries dedicated to them share the same desire: to aim for the universal by telling more than the story of a life – and that is what Clément Cotentin liked: “[The World’s a Little Blurry], it’s not just music, it’s behind the scenes of an album, of a success, but it’s also the story of a teenager who becomes an adult, and it’s something that I likes: when a work tells something else.” Indeed, the film devoted to the young life of Billie Eilish tends towards the initiatory tale. Of the 2 hours and 20 minutes of the documentary, Clément Cotentin retains in particular the scene where the singer passes her license and leaves for her first trip by car alone, under the eyes of her father: “It is a direct symbol of the transition to adulthood, it’s hyper universal.” Shown in her room at her parents’ house, composing music with her brother, dodging social events or on stage, facing crying fans, Billie Eilish is silent about her fragility and the vagaries of his mental health. In a similar vein, Orelsan’s vulnerability and doubts become main characters in Season 2 of Never Show Anyone That. So few people can identify with musical superstars, the films manage to create universal rallying points.The Defiant Ones by Allen HughesDirected by Allen Hughes and broadcast in 2017, the documentary series The Defiant Ones returns , in four episodes, on the intersecting paths of Dr. Dre and Jimmy Iovine. In addition to having co-founded Beats Electronics, the two men have laid down some of the milestones in the musical history of the past thirty years. The four-hour documentary covers, among other things, the foundations of Interscope Records and Aftermath Entertainment , the discoveries of Snoop Dogg and Eminem or the disappearance of Tupac. Issues specific to the music industry – label failures, brand launches or the war on piracy – are also highlighted. the Norman director: “I watched him fifteen times. Sometimes I just looked at little bits”, he reported to the microphone of Kyan Khojandi. “It’s mainly in terms of pure editing techniques, of storytelling, that it inspired me. The way in which interviews are used in particular, which make it possible to suggest things to the public, to illustrate [caractéristiques, des points précis des personnages]“, he completes during a telephone interview. Jamel in real life by Karim Debbouze and Roland AllardAnother family story and, better still, a story of brothers. In 2002, the younger brother of Jamel Debbouze, Karim, released Jamel in real life, a documentary filmed from the inside, small camera in hand, which follows the comedian in his family, on stage, between friends. film goes beyond the story of Jamel and the two brothers. Numerous family scenes are shown (the documentary opens with a mischievous presentation of the Debbouzes, at the table, by Jamel), with impressive honesty. When he sees it for the first time, the feature film gives proof to Clément Cotentin that it is possible to “have both an intimate and objective look and to tell a story that makes sense”.In Jamel in truth, the little story overtakes, again and again, the big one: “There is a higher dimension. It’s about money, the pangs of fame and also what they mean in a particular context, here, in a family with an immigrant background.”Sugar Man (Searching for Sugar Man) by Malik BendjelloulI didn’t I don’t even want to tell you about Sugar Man (Searching for Sugar Man) because if you’ve seen it, you’re bound to remember its incredible story, and if you haven’t, you can stop reading here and watch it right away, spoiler-free, letting yourself be carried away by the film’s twist-filled narration. This way of “presenting a character with a point of view, of creating mystery, of keeping the viewer close” Clément Cotentin a key point in documentary writing which, unlike reporting, aims to “make people feel things, to condense information to allow shocks of emotion”. The narration of the film dedicated to Sixto Rodriguez (the real name of the famous Sugar Man – but that, you know, at this stage of your reading. Because, if you weren’t already aware, you normally started watching the documentary. And you read me at the same time. You are multitasking, well done) takes the form of a survey. This particular writing raises the question of “who tells what and how”, a crucial question in the critical understanding of what surrounds us.OJ: Made in America by Ezra EdelmanThe criticism is unanimous, the YouTube comments (rare thing) are unanimous too, and Clément Cotentin adds: “OJ: Made in America, it’s the best thing I’ve ever seen.” Made as part of 30 for 30, a series of thirty one-hour films made by thirty filmmakers for ESPN’s 30th anniversary, the project went beyond the limits during its creation. Faced with hundreds of hours of interviews and the complexity of the subject, Ezra Edelman produced a colossal work of 7 hours and 47 minutes, which won the Oscar for Best Documentary in 2017. More than “simply” relating a trial A flagship of the 20th century, the documentary series manages to deal with everything that the said trial symbolizes: “It explains the United States. They were able to create a fresco so that we understand the whole context of the OJ Simpson trial, why it was important, what he said about the country at that time and even, a posteriori, what he says about it today. today”, marvels the journalist. The “layers and layers of understanding” contained in the films convince him that we never talk about a random subject and, above all, that we only ever talk about its initial subject.A non-exhaustive listThe particularity of the lists of “Things to See” is that they represent a bottomless pit. The director does not forget either the documentaries The Last Dance (even if he confides his disappointment concerning the end of the series dedicated to Michael Jordan), Amy (on Amy Winehouse, having notably inspired him as to “the use lyrics and what they help us understand about the artist’s work and the woman’s life”) or Inside Bill Gates’ Brain (for parallel storytelling efforts). I could go on for a moment but my article is already 1,500 words. You can stop reading and start watching, filming and adding your stone to the building.