About the film Furcy, Born Free
Why did you choose to bring Furcy’s story to the screen? You’ve said that, in a way, this story was also yours. In what sense do you see yourself in his journey?
I relate to Furcy’s journey because he was a man — someone considered enslaved — who secretly taught himself to read and write. If he hadn’t known how to read or write, none of what followed would have been possible. In a way, his story highlights the importance of education, knowledge, and learning. That’s why I deeply connect with Furcy and his path, because without my own relationship to knowledge and education, nothing would have been possible for me either. Of course, in circumstances far less dramatic, but the power of education and knowledge literally allows you to transcend your condition.
In French rap — and more broadly in popular culture — certain figures connected to slavery are frequently referenced, especially Kunta Kinte. Yet Furcy’s story is rarely mentioned. How do you explain that invisibility?
It’s true that, unlike Kunta Kinte — whose story is told in the book Roots and later in the series by Alex Haley — Furcy is less well known. When people talk about Kunta Kinte, they’re referring to a story set in the United States, and we all know the power of American storytelling when it comes to turning historical figures into global icons. In this case, we’re dealing with a story rooted in Réunion Island. Although Furcy was known locally, it was Mohamed Aïssaoui who, in 2010, with his book The Furcy Slave Case, began bringing Furcy’s story to a wider audience in France.
Furcy, Born Free is your second film after May Allah Bless France. After that first cinematic experience, was funding and securing distributors easier this time — or more complex?
In reality, it was easier because, since my first film, May Allah Bless France, I’ve been recognized as a director. I also directed the series 9 3 BB, which gained attention on TikTok. Let’s say that my name as a filmmaker carries weight today. That doesn’t mean funding was easy — it never is — but it was definitely smoother this time.
Did you encounter any specific obstacles — financial, institutional, or artistic — in bringing this project to life? How was this experience different from your first film?
The main difference is that the budget was ten times larger than my first film. Naturally, that makes the production much heavier. But I didn’t face any particular barriers, aside from the sheer length of the process. The editing phase alone stretched over five years — five years of my life between writing the script and calling “that’s a wrap.” It wasn’t necessarily difficult, but it was long. That’s just part of filmmaking, and it wasn’t directly tied to the subject matter itself.
Conscious Rap, Legacy, and Responsibility
Today, this kind of socially conscious rap seems marginal. What’s your take on what people call “unconscious rap”?
Personally, I don’t really believe in “conscious” versus “unconscious” rap. There are personalities. Some artists feel deeply invested in certain issues, others express themselves differently. I think it all deserves respect. What matters most is being aligned with who you are. Whether with N.A.P. or as a solo artist, I’ve always believed we carry an artistic responsibility. But I’m not here to lecture anyone. People are who they are — what matters is staying true to yourself.
Is it your identity as a rapper that naturally leads you to carry this message?
What leads me to carry this message is my relationship to the world as a human being. We have a responsibility toward one another. Even if we’re all individuals, we share something in common: humanity. And we have to fight to preserve that humanity.
The Soundtrack Furcy – Héritage
Why did you choose to open the project with Sine Qua Non?
Sine Qua Non means that without justice, there can be no peace. And without peace, justice becomes impossible as well. Everything is interconnected. In a time when we see injustice everywhere, it felt important to proclaim that message loudly.
On social media, some people say: “We’ve talked about this enough — isn’t it time to move on?” No, it’s not enough. Anything that relates to dehumanization — or what has dehumanized us — must be spoken about again and again so that it never happens again.
Direct question: Is slavery truly abolished?
Yes, slavery is abolished in France. But capitalism was born out of slave-based systems, and today we see new forms of servitude emerging. So we must remain vigilant and continue fighting against these modern forms.
Family, Collaboration, and Transmission
Furcy – Héritage was created with Matteo Falcone, with music composed by Bilal Al Aswad, who was already part of the journey during the N.A.P. days. Why work with family?
Because they are simply the most talented people I know. Working with family brings rigor and artistic honesty. We can speak openly and directly to each other. That level of high standards is something we brought to the film and to the album inspired by it.
Looking Ahead
I’ll be taking part in Printemps de Bourges and opening the stage for Patti Smith. It also marks the 20th anniversary of my album Gibraltar. A tour is in preparation. I’m continuing to write — both literature and cinema — and I’m involved in producing the next album by Matteo Falcone. The goal is to stay responsive and keep bringing something fresh and unexpected each time.
