« Emilia Perez », a love not phew – liberation
« What were you doing before the trigger of the 3rd World War? » – I looked at the 50th Césars ceremony directed by Cédric Klapisch. ” Bad karma. A few minutes before, Donald Trump turned Volodymyr Zelensky From the White House due to divergence of views of Vladimir Putin. The mistress of ceremonies, Catherine Deneuve, very sober, not talkative, above the lot, blue and yellow pines with the buttonhole, dedicated the evening to Ukraine. It was the minimum that it was possible to do to try not to be discredited completely.
Funny evening anyway that the chance of votes has deprived the possibility of pushing the film a little more Souleymane's storyand the realistic enthusiasm of his delivery man in search of regularization, at a moment well started to create the surprise – male revelation for Abu SangaréBest actress in a supporting role for Nina Meurisse (who had to have one day of filming to break everything, but so much the better for her), best original scenario for Boris Lojkine and Delphine Agut and best assembly – for the benefit of the sure value Jacques Audiard. A safe bet which represents for many professional the perfect synthesis of the rebellious artist and the effective entrepreneur. Projects not obvious on paper and which it transforms into a real harvesting machine both prices at festivals and public favors. We don't really know if people admire Emilia Perez For what it is or what it tells (and in which case, you have to wake up!) Or by what it represents, that is to say a technical, financial challenge, an obstacle course by its subject (gender transition), its casting surface (a quasi-unknown in first place and around it two American stars), its imperatives of production (shoot in France a musical passing in Mexico).
Undeniably also and as you would expect, the important controversies crossed by the film since His bad reception in Mexico And especially the exhumation of the tweets of Karla Sofia Gascon hardly diverted the voters of the film. Possibly even on the contrary, a plebiscite of support for Audiard was able to trigger as soon as it seemed to be sucked in to his body and spirit defending in the cyclone ofAn Oscars Oscars outside control. That said, the atmosphere seemed to be freezing between him and Karla Sofia Gascon, thanked at the end of the race but without the slightest look or embracing punctuating his various prices.
The other films finally had trouble existing for themselves, as reduced to the margins, when they were not simply ignored such Mercy by Alain Guiraudiefinally winning in any category. He is unspeakable, even insulting, to force someone to come to an evening in which he has no desire to participate, to finally not speak to him. Guiraudie has undoubtedly lived a fairly similar experience this evening. Mercy Returned from a ceremony of which he could hope, if not a jackpot, at least one or two conversions. The Albigensian did not hide his growing vexation, which may be explained by what the film, beyond its failure in the charts, appeared nonexistent from the imaginary-in other more conciliatory times between the poles of the industry, of the sketches would have put it equally with Count of Monte-Cristo (Best costumes and best sets), ensuring a modest place in the story of the cinema year. There, Niet-that is to wonder if the elite succeeding himself to the desk has even seen him, or if she just wondered what he was fucking there. He too, clearly.
Make the minimum, making sober, direct, simple was sometimes, often, the least worse solutions it must be said. To be satisfied with a few well felt words rather than occupying the space for nothing like Raphaël Quenard, spent in less than a year from the saving prodigy with exasperating slaps, even if some did not really have the choice to make a long time. Like the excellent Abu Sangaré, who started the evening on an exciting note by winning the César for best male hope. A non -professional actor, Casé in Amiens when he was in a mechanic training and who since his interpretation price in Cannes has been able to have a one -year residence permit. « Thank you to the Academy for this wonderful organization »he said that he said that he had gone through a period of total non-life between 2017 and 2023, the meeting with the Boris Lojkine film team acting as a second birth-before the violins do not send it prematurely towards the exit.
At the time that presses each time a little more, we can also oppose energy, like Louise Courvoisier, César of the first film for the formidable Twenty godsHistory of resourceful in the County country, one of the highest things seen here for a long time and which will also leave with the César of female revelation for Maïwene Barthelemy: Rare opportunity to hear pronouncing « Vesoul » During the Césars ceremony other than for a joke of another age, it is the fiftieth, it was necessary to mark the occasion.
Others will have had the chance to be longer. Jonathan Glazer wins the César for the best foreign film for The area of interest. Absent in the room, he asked that a text be read in his name: “Today, Holocausts and Jewish security are used to justify massacres and ethnic cleaning in Gaza after the massacres. The massacres of October 7 and the taking of hostages in Israel: in one case is in the other, acts of terror against innocent people, made possible by the dehumanization of people, people who are on the other side of our walls. This is the area of interest. « Short applause but fed in the room. A speech of the same nature had created the controversy during the 2024 Oscars, he then received the prize for the best foreign film in Los Angeles. Costa Gavras launched in a long evocation of memories for her cesar of honor will end up concluding right and strong, evoking this cinema evening where his film was screened Z Attacked on February 16 in Paris by an extreme right groupinjuring a stabbing person.
Less lucky, less awaited but just as impeccable, Gilles Perret, César for best documentary for The Bertrand farmwhose voiceover will specify that it comes from Haute-Savoie as it would have been said that it landed from a trek in Pluto. Despite the annoying violins which tumbled very quickly and very strong, the director did not give in and took the time to evoke without blinking or hiding behind a humorous facade the crises that « The public hospital, the public school, the collective structures which allow us to make society (…) in a country where we reach the microphone more easily to billionaires who complain rather than in ten million poor, or the leaders to stay in place prefer to ally themselves on the far right fascist rather than asking the question of the sharing of wealth and the protection of the planet » Before calling the profession to do its part: « The house burns and we film elsewhere. »
Time too, a lot, for the Euphoric Babil of Karim Leklou, who has the pawn against all odds to all the omnipresent of the year (François Civil, Pierre Niney) for the César for best actor, which he won for Jim's novel Larrieu brothers. Everyone seemed happy to see him finally there, seemed to him not to believe him for a moment, of all those who succeeded each other on stage this evening, one thing is certain, it was he who spent the best time and it was rather salutary to see. He embarked on an ode with somewhat confused kindness but if someone in the audience has recognized himself in this positive and benevolent provision despite the strong click of the competitors and the unstable market of the transactional values of the « talents » designed by the agents, great good. Same effect in a slightly more selected register with the fascinating Hafsia Herzi, César of the best actress in her role as prison guard in Borgo Who has also extinguished Bulldozer competition (Adèle Exarchopoulos, the two actresses of Emilia Perez).
On the other hand, we will question ourselves for a long time on the endless sketch of Alain Chabat, lunar César for the best supporting role (and the only award for Love phew Yet named thirteen times), a category which has to see the wallpaper figures disappear, has turned a little joke. Extras to plug holes like the cops in the identification procedures (Bastien Bouillon, Laurent Laffitte and therefore, inexplicably, Chabat), against only two candidates actually concerned: Jacques Develay and David Ayala, both in the insane Mercy by Alain Guiraudie.
« It's the boring moment when someone begins to speak to the Minister of Culture »laughs Balasko, under the laughter of the room and the broad smile of a Rachida Dati not afraid of being too shaken. Is right since failing to challenge it on one of the fifty-three truly critical subjects of a fairly busy period, the actress will invoke the urgency of a « Europe of culture »that the minister will also apply herself. Everyone is free to judge the degree of compared priority of such a declaration of superstructure intention, and for example the strike of the CGT show announced on March 20, that no speech has this evening deemed good to mention. A counter evening was also organized by a union collective, the CGT of which took over the Cinémathèque to protest against the melting of cultural subsidies. We remember how, in 2022, the Césars had reduced the risk of political overflow by renouncing the single ceremonial master for a multiple presentation. The blow of these Caesars is the same, since none of the receipts gave herself his role to make it a platform: call it to divide to better reign. After a few years enamelled with real rebellious insubordination in the ceremonial environment, authentically protesting television moments, signed Corinne Masiero or Justine Triet, tightly sermoned by the Ministers of Culture then (Bachelot then Abdul Malak), the setting in step seems to have been internalized in one way or another by a broadcasting that no longer dares practice that in half a second degree.
“The cat crosses so many trials, but even at the end, it still has fears. He simply learns to live with them rather than fleeing them. ” Finally, citing an extract from the interview with Gints Zilbalodis, director of FlowCésar deserved for the best animated film, one of its French producers sutured the frivolity of the evening with the current geopolitical abyss. Morality of the evening: learn to live with your fears and cut the violins.
