It is in his own experience that we sometimes find inspiration… Mohamed Hamidi undoubtedly took this credo literally when he chose to direct the film “So far, everything is going well” in 2019. In Indeed, it was after a visit to a hall of a Bondy building that he had the idea of the script for his feature film.
So far, so good : when Gilles Lellouche and Malik Bentalha join forces
So far, so good is the second feature film by Mohamed Hamidi. The latter was revealed in 2016 with The cow, in which he notably directed Malik Bentalha. For his second film, the director collaborates again with the latter, associating it with actor Gilles Lellouche. To complete the cast, Hamidi hires other well-known names such as Sabrina Ouazani (who previously worked with Bentalha on Pattaya and Taxi 5), Camille Lou, Hugo Becker or even Anne-Elisabeth Blateau.
So far, so good follows Fred Bartel, CEO of Happy Few, a Parisian communications agency. Following a stormy tax audit, he was forced to relocate his business to La Courneuve, in Seine-Saint-Denis. Fred and his team then left their trendy premises in Paris and landed scared “in unknown land”. They notably meet Samy, a young commuter. who will quickly teach them the codes of their new environment. It is therefore the beginning of an unexpected encounter between two very different lifestyles, which will have to coexist and put an end to their respective prejudices.
Genesis of the project
Mohamed Hamidi has always been attentive to young people from the suburbs and their professional orientation. Co-founder of Bondy Blog (online media which aims to be the voice of sensitive neighborhoods) and economics aggregator, the director of So far, so good had the idea for the film in 2008, after visiting a friend of his who worked in the Bondy free zone.
He then realized that in the lobby of the building, several corporate mailboxes were listed. Nevertheless, few of them were actually installed in the building. It is therefore from this innocuous detail that the story of his film was born, the director wanting to relate the meeting between two totally opposed universes: the suburbs and Paris. The latter explains it by the way in the film’s press kit :
At that time, with the free zones, we were in a sort of tax haven. (…) What is paradoxical, even comical, is the discrepancy between the intention of these measures which attempt to revitalize neighborhoods and their application which reinforces the inequalities they are trying to combat. I have always been wary of the theoretical and righteous side of positive discrimination: admittedly, it is a catch-up measure, but it only deals with inequality without really tackling its causes. These subjects are serious and complex, but in the film, I bring them up in comedy mode, it is always more effective and less moralizing.