Booba and JSX invite us into a cinematic underworld where cash, weapons, and loyalty are the only currencies that matter. In rapid-fire lines, the pair brag about being “so far ahead the future is behind,” yet their success feels fragile: friends have died, bullets whisper in ears, and superstition (a 200-euro gri-gri against gunfire) battles constant paranoia. The hook about ordering “two Mona Lisa” turns the famous painting into street slang for prized contraband that must be “smoked” or moved fast before everything goes wrong.
Behind the bravado is an unfiltered look at systemic abuse (“la hagra”), the lure of easy money (crypto cheat codes, floating cocaine bundles near Saint-Martin), and the emptiness of power. Every boast is shadowed by a fatalistic shrug – if the sky is with them, they will finish what they started, but they might still wake up in a morgue. “Mona Lisa” is both a flex and a cautionary tale, showing how survival in Booba’s world means staying armed, staying paid, and accepting that tomorrow could be a blank canvas splattered with gunpowder and regret.