LOYAL TO THE POST – Find the editorial every week from François Aubel, editor-in-chief of TV Magazine.
Should we represent horror? Reexamine these atrocious memories? How, as a viewer, can we avoid fleeing a fiction that evokes the attacks of November 13, 2015, especially if some of our traveling companions, our neighbors, a friend, a brother, a son or a childhood sweetheart have left it behind? life ? Cinema has been able to take hold of this barbarism. In November , by Cédric Jimenez, the unleashing of cell phone rings has replaced the disastrous staccato of bullets. Alice Winocour chose to place the story of See Paris again around a fictitious attack in a Parisian brasserie, because his brother, present at the Bataclan that evening, made him understand – but was it really necessary? – that his trauma was unrepresentable.
The terrible pain of invisible wounds…
Arthur Dénouveaux, one of the founders of the victims' association Life for Paris, recognizes this in our investigation: a moratorium had to be respected before fiction took up this tragedy and “that the power of images does not come to crush everything”. The Spies of Terror pulsating series of M6 whose first two episodes are broadcast this Tuesday, November 12, has chosen, like the film November before her, to move the subject. And to focus his point of view on the war that the French intelligence services (DGSE, DGSI, Sdat, etc.) will wage in tracking down, from Seine-Saint-Denis to Syria, the sponsors of the attacks. Beyond the very beautiful tribute it pays to these shadowy agents and their commitment, this four-episode series inspired by the story of journalist Matthieu Suc shows, through the journeys of the two heroines masterfully embodied by Rachida Brakni and Fleur Geffrier, the terrible pain of invisible wounds.
