Continuation of the presentation of the nominees with hopes and supporting roles. Photography, music and editing complete this second part on the 2018 Césars to be held on Friday evening, March 2.
FEMALE HOPE
- Iris Bry in The Guardians
- Laetitia Dosch in Young Woman
- Eye Haïdara in Le Sens de la Fête
- Camélia Jordana in Le Brio
- Garance Marillier in Grave
The hopefuls nominated for the Césars actually come from a list of thirty actors preselected by the casting directors of the Academy in November. Fifteen people of each sex are retained to arrive at the ten names officially mentioned to the Caesars. Iris Bry bluffed everyone by carrying Xavier Beauvois' film on her young shoulders. Coming from a wild cast, the pretty redhead has no reason to be ashamed of her performance alongside Nathalie Baye and Laura Smet. Another redhead, in a different register, Laetitia Dosch is surprisingly original. The career of the Franco-Swiss is richer since she has already shot for Maïwenn or Christophe Honoré. An odyssey to the big piquant and offbeat city. Camélia Jordana makes a surprise appearance in the category, in an unfortunately current role of a student who faces racist prejudice and who will find the solution by embarking on an eloquence contest. Eye Haïdara is one of this year's good surprises. The young actress is so natural in her role as the ultra-authoritarian but secretly sensitive assistant of a wedding planner overwhelmed by events. The category is finished by Garance Marillier, chaperoned by Julia Ducournau since 2011. Her strong and nuanced interpretation of a vegetarian student bursts the screen. In her 20s, she excels in risky themes such as the discovery of sexuality, dementia and growing impulsivity. It passes brilliantly from a light and innocent register to an uncomplicated and initiatory barbarism. No false note in an admirably directed performance that earned him our big crush.
MALE HOPE
- Benjamin Lavernhe in Le Sens de la Fête
- Finnegan Oldfield in Marvin ou la Belle Education
- Pablo Pauly in Patients
- Nahuel Pérez Biscayart in 120 Beats per Minute
- Arnaud Valois in 120 Beats per Minute
Despite the talent of the other four candidates, the choice was almost unanimous in the writing. Finnegan Oldfield sees here a second nomination in this category after his poignant role as a brother in search of his missing sister in Thomas Bidegain's The Cowboys . Two years later, here he is again nominated (editor's note: for the last time because no one can accumulate more than two nominations in the hope category). Around him also apply future greats of our cinema like Benjamin Lavernhe (resident of the Comédie Française), an execrable married who has already turned in a dozen films since 2012.Pablo Pauly has the difficult task of playing an incomplete quadriplegic in the poignant drama from the life of Grand Corps Malade. It is also his first leading role. The remaining duo is probably the most promising. Arnaud Valois is touched by his innocence and the way he tries to manage all the misfortunes that affect him. A strong role that he assumes totally, indulging in the camera in trying scenes. He has already played in four feature films and recently won the Lumières prize for male revelation. American audiences seem to like him and he will also star in Lisa Azuelos' new film this year. Our darling is undeniably the Franco-Argentinian Nahuel Pérez Biscayart. At the age of thirty-one, he has already played in more than twenty films, mainly Argentine. He also appeared alongside Albert Dupontel in Au Revoir Là-Haut, playing Edouard Péricourt, mutilated by mute war with a chilling look. His performance in Robin Campillo's film, however, is above. He is Sean, an HIV activist for Act Up, who fights with exemplary courage and joie de vivre for a right to care in an inhumane France. In any case, all these nominees, with the exception of Finnegan Oldfield, will be able to console themselves with a possible second nomination in this category in the future.
ASSEMBLY
- Robin Campillo for 120 Beats Per Minute
- François Gedigier for Barbara
- Christophe Pinel for Au Revoir Là-Haut
- Dorian Rigal Ansous for Le Sens de la Fête
- Julie Lena, Lilian Corbeille, Grégoire Pontecaille for Petit Paysan
It is not uncommon to find directors in this category. Xavier Dolan left with the two prizes last year (editing and directing). Robin Campillo, who edited all his films and those of Laurent Cantet, received his second nomination as editor after 2009 for Entre Les Murs. A pop narrative that has its own color and rhythm, especially during the dialogue scenes. Christophe Pinel, Dupontel's regular editor, gets a second nomination after 9 months in 2014. The same goes for Dorian Rigal Ansous (a regular at the Toledano/Nakache duo and nominated for The Intouchables in 2012). The rule of two continues with François Gedigier, the dean of the lot since he made his film debut alongside a certain Arnaud Desplechin. His long career includes numerous collaborations with Claude Berri, Patrice Chéreau and even internationally for Brian de Palma. He mainly edited Lars Von Trier's Dancer In The Dark . In Barbara, the graceful editing alternates with ingenuity the images of the film and the extracts of the archives. The metamorphosis of Balibar into Barbara benefits greatly. Finally, we find a surprising trio (because editing is often a solitary job). Three colleagues from FEMIS where Hubert Charuel met them. Julie Lena, his editor who has followed him since his short films and Grégoire Pontecaille, also an actor in his spare time. Lilian Corbeille, nominated in 2015 for Les Combatants, completes the triplet. The editorial team has favoured Christophe Pinel (below) for his narration, very different from the novel, which combines suspense, comedy and deafening action. What is certain is that the winner will get his/her first award in this category.
PHOTOGRAPHY
- Christophe Beaucarne – Barbara
- Caroline Champetier for Les Gardiennes
- Jeanne Lapoirie for 120 Beats per Minute
- Vincent Mathias for Au Revoir Là-Haut
- Guillaume Schiffman for Le Redoutable
Caroline Champetier, the only winner of the list, has been in the category for a few years since she is in her fourth nomination in eight years. Winner in 2011 for Des Hommes et des Dieux by Xavier Beauvois, she often collaborates with him and offers us sublime rural landscapes in Les Gardiennes. We also owe him the image of Les Innocentes, La Sentinelle and even some Danny Boon shows! Jeanne Lapoirie, camera assistant on Nikita de Besson, is justly rewarded with a nomination for Robin Campillo's film. The two always work together. The cinematographer has collaborated extensively with François Ozon and Valéria Bruni Tedeschi. We remain amazed by his ingenuity to film the AGMs in 120 Beats per Minute. His setting is graceful and melancholic and earned him a third nomination after 8 Femmes (2003). The Belgian Christophe Beaucarne signs a polymorphous and subtle work with Barbara. Probably the most aesthetic film of this panel in the first sense of the word. The artist began as a cameraman on Les Visiteurs and his career has continued to grow for thirty years. He is frequently found alongside Anne Fontaine, Jaco Van Dormael, Mathieu Amalric and for Xavier Giannoli's short films. He gets a fifth nomination and is still waiting for a trophy. This is also the case of Guillaume Schiffman, who would also compete for an Oscar in 2012 (The Artist). He began his career as a cinematographer on Bernie (also on the frame) and especially for Claude Berri. His meeting with Michel Hazanavicius led him to photograph all his films since. He respects the codes dictated by Jean-Luc Godard in Le Redoutable where his expertise is visible especially without the color processing and camera movements. Yet it is the outsider, first appointed, Vincent Mathias, who wins our plebiscite. Rather accustomed to films with lighter tones, he brings a lot to Dupontel's fresco with a nuanced light that merges beautifully with the costumes and sets. We could see his work over 9 months also firm where the most far-fetched ideas of Dupontel's genius brain were filmed. They are, in Au Revoir Là-Haut, up to a reward for us.
ORIGINAL MUSIC
- Matthieu Chédid for Visages Villages
- Christophe Julien for Au Revoir Là-Haut
- Myd for Little Farmer
- Arnaud Rebotini for 120 Beats per Minute
- Jim Williams – Grave
Many musicians are among the nominees. Quentin Lepoutre (Myd) is a composer of house music and rap, also a music producer. He met Hubert Charuel on the benches of FEMIS and composed the music for his first film, tinged with melancholy and precisely dosed. Arnaud Rebotini also called Zend Avesta has already set Eastern Boys by Robin Campillo to music. In 120 Beats per Minute, he makes us dance with techno electronic rhythms and moves us with a more orchestral and dramatic composition. A soundtrack has two facets that delighted some of our voters. Jim Williams' work is best known on British television. In cinema, he is often interested in horror stories. His composition for Grave mixes terrifying atmospheres and flamboyant melodies carried by squeaky violins. The last musician in the category is none other than -M-. He received a third nomination after Ne le Dis à Personne (won) and Un Monstre à Paris. This virtuoso guitarist and singer is since this year, the most awarded musician at the Victoires de la Musique with twelve trophies. Our choice fell in part on Christophe Julien, the only real film musician in the selection. A great historical fresco, its flamboyant soundtrack. He signs a score worthy of the greatest composers of Hollywood epics. Grandiose melodies carried by an emeritus orchestra. A touch certainly less discreet than its competitors but which is easily placed on the visually rich frames of Au Revoir Là-Haut. At the end of our votes, two composers come out on top for the reasons explained. Verdict at the ceremony!
SUPPORTING MALE ROLE
- Niels Arestrup in Goodbye Up
- Laurent Lafitte in Au Revoir Là-Haut
- Gilles Lellouche in Le Sens de la Fête
- Vincent Macaigne in Le Sens de la Fête
- Antoine Reinartz in 120 Beats per Minute
Three films selected in this category this year. The choral epic of Nakache and Toledano is populated by whimsical characters. Vincent Macaigne, the somewhat heavy and unpresentable friend who falls in love with the wrong person at the wedding is one of them. Nominated for the male hope in 2014, he took the plunge and convinced the jury of the selections. Gilles Lellouche, who we love to see in crazy roles is here James Live Band, a DJ with very limited musical tastes, supporter of the towel tour. Effective, funny and so spontaneous Lellouche that fits brilliantly into the delirious cast of Le Sens de la Fête. A second personal nomination after that of 2011 for Les Petits Mouchoirs. Antoine Reinartz, who has been working in cinema for a very short time, is a real revelation. His role as Thibault, a condemned HIV-convicted seropo fighter in Campillo's film is striking and touchingly sincere. A more than noticed entry into the cinema since he will be on the poster of the next film by Olivier Assayas (alongside Vincent Macaigne). The ultra cited Au Revoir Là-Haut also sees two actors nominated in this category. Laurent Laffite doubles the bet with a second consecutive nomination for the supporting role after Elle. The resident of the Comédie Française is detestable at will in the role of Henri Pradelle. However, it is a register in which we are used to seeing him and that is why he does not win our vote, despite his talent. It is Niels Arestrup's very personal interpretation of the character Marcel Péricourt, a proud and overly proud father, that gathered the most voices. A mastery that he no longer has to dismantle, after five nominations and two trophies won during his adventure with Jacques Audiard.
SUPPORTING FEMALE ROLE
- Laure Calamy in Ava
- Anaïs Demoustier in La Villa
- Sara Giraudeau in Petit Paysan
- Adèle Haenel in 120 Beats per Minute
- Mélanie Thierry in Au Revoir Là-Haut
Three very contemporary films in this selection. Talented actresses who find themselves for some assigned as a supporting role while they are so main. Failing to compete in the queen category, they can all try their luck in this one. Laure Calamy is overwhelming in her role as a loving mother who must face the irremediable blindness of her looming daughter. She has already made a name for herself with an acting award at Sundance in 2015 and the series Ten percent which gave her enormous visibility. We follow his career closely. Note that Noée Abita, the young Ava, was preselected (among the fifteen actresses) for the hopes this year. First nomination for Anaïs Demoustier in this category for her role in Robert Guédiguian's very intimate film. She plays a young woman definitely not on the same wavelength as her much older companion, who finds herself involved in a tender, funny and tense family reunion.
Mélanie Thierry gets a second consecutive nomination after La Danseuse last year. She plays Pauline, the maid of the powerful Péricourt family, who sees in Albert Maillard a happy escape from her daily life. She interprets the role written by Pierre Lemaître and Dupontel with all the shyness and innocence we know her. Sara Giraudeau (and the remaining nominee) actually take on the female lead in their respective films. Sara Giraudeau, is touching as a veterinary sister of a young farmer overwhelmed by events. A presence on camera and beautiful blue eyes in a role she masters, supported by the direction of Charuel. The phenomenon Adèle Haenel, revealed by Céline Sciamma in Birth of Octopuses, continues to continue with a second nomination in this category. Sophie, a volunteer for Act Up a bit of a tomboy, is the real driving force behind the fight of these young people in Campillo's film. We loved the passion of his youth and his humanist activism that transcends the screen. Already César for the female lead in 2014 for The Fighters, she can nourish great hopes of winning a third personal award at 29 years old.
Alain Terzian, president of the Academy, recently revealed that guests will wear a white ribbon, to protest against violence against women. A rich initiative by Tonie Marshall that echoes the black dresses of the actresses at the last Golden Globes. Continuation and end of the predictions in the next article that will reveal our choice for the César of the film of the year.
