Anatomy of a Fall, the judicial drama that has already accumulated multiple international recognitions, confirmed the predictions and won six Césars, in the most prestigious categories, at the great gala of French cinema, held yesterday Friday at the legendary Olympia theater in Paris. The dystopia The Animal Kingdom won five statuettes, although in minor categories.
The evening also served to launch a severe denunciation against the sexual abuse of young actresses, a scourge that has greatly sensitized French public opinion in recent years. There was also no shortage of calls for peace in Gaza.
Anatomy of a Fall won the Césars for best film and best director, awards collected by the director, Justine Triet. The German Sandra Hüller, the protagonist, also won as best actress. The film was also awarded for its editing, for its original setting and for its best supporting actor, Swann Arlaud, who plays the role of the heroine’s lawyer.
Arieh Worthalter, the Franco-Belgian who played the protagonist, a far-left militant, in Le procés Goldman, a real court case that shook France in the 1970s, was crowned best actor. Worthalter, like others who took the stage, called for an immediate ceasefire in Gaza.
The Canadian romantic comedy Simple comme Sylvain, by Monia Chokri, won best foreign film – although originally in French – against what seemed like a big favorite, Oppenheimer. The winner tells the love story between a philosophy professor from Montreal and Sylvain, the carpenter who must make some of her works.
The honorary César for his career was awarded to Christopher Nolan, a nice compensation for not having won with Oppenheimer. “For him, nothing replaces a good old movie,” said host Valérie Lemercier. The statuette was presented to him by Marion Cotillard, who shot two films with the Anglo-American director, Inception and Dark Knight Rises. Nolan thanked the French for their love of cinema and the importance that theatrical exhibition still maintains in a world in which streaming is taking over. The female honorary César went to Agnès Jaoui, winner of six statuettes in her career, more than any other actress. Jamel Debbouze gave it to him.
In the section of tribute to cinema figures who have disappeared during the last year, the tribute in images and musical dedicated to Jane Birkin was especially beautiful.
One of the highlights of the evening was the intervention of actress Judith Godrèche, who has been in the news in recent weeks for her harsh accusations of sexual abuse, when she was a minor, leveled against directors Benoît Jacquot and Jacques Doillon. “For some time now, the word has been freed, the image of our idealized fathers has been destroyed,” she said, alluding to sacred figures who have fallen from the pedestal because of alleged abuse, such as Gérard Depardieu and others.
“Would it be possible that we could look at the truth in the face?” Godrèche asked himself, and lamented the lack of reaction from men in the world of cinema: “For some time now, I’ve been talking, I’m talking, but I don’t hear you, or hardly at all. “Where are you? What do you say?” “Cinema should not be a cover for the illicit trafficking of young girls,” he warned. The background of the actress’s complaint was the unequal relationship that she had with Benoît Jacquot, which began when she was 14 years old and he was 39. Over time she realized that she had been the victim of psychological domination and predatory
Storm
Among the winners are Adèle Exarchopoulos, for best supporting actress, for her role in Je verrai toujours vos visages, a film about restorative justice. For the first time, the César for best costumes went to a film set in the present, The Animal Kingdom. This disturbing dystopia about the effects of a pandemic also won the César for best sound, best original music, special effects and photography. The award for best sets went to Stéphane Taillasson for The Three Musketeers.
Raphaël Quenard won the category of best male newcomer for his performance in Chien de la casse. Quenard took the opportunity to pay tribute to the French farmers and ranchers who have been protesting for weeks to improve their situation.
The Tunisian Kaouther Ben Hania won the César reserved for documentaries with Filles d’Olfa, on the problem of jihadism. Gala Hernández López won in the category of best documentary short film with La Mécanique des fluides, a reflection on the social impact on people of employment, algorithms and data and capital flows. Both Hania and Hernández López referred with emotion to the drama of Gaza and the Palestinians in general.
