Like the famous statuette distributed to the winners, it was in a compressed version that took place, Friday February 24 on the stage of the Olympia, in Paris, the 48e Caesar ceremony. She was less heckled than usual, but curiously led at a run, seeing succeeding on the platform, instead of the usual master of ceremonies, a good half-dozen hosts and hostesses, as if had to speed things up to make sure there was no incident. An unmistakable sign: the antenna was returned a little before midnight, on the traditional “family photo” of the winners, and the ritual dispatched in three hours flat, instead of the usual four.
On arrival, the big winner of the evening is The Night of 12which won both the emblematic title of best film and accumulated the most awards, six in number: best director for Dominik Moll, best supporting actor for Bouli Lanners, best male hope for the excellent Bastien Bouillon, but also for the best adaptation and the best sound.
From documented account 18.3, a year at the PJ, by Pauline Guéna, the acclaimed film retraces a dark investigation into a case of feminicide in the Alpine foreland, and draws from it a reflection on the undermined relationship between men and women. There is no doubt that he represented an ideal candidate for the voting members of the Academy, playing the thriller card, in France a master genre, very popular with the public, while infusing it with current themes.
In the race for favorites, the film was however given only second. He thus queens the pawn to L’Innocentfamily heist comedy by Louis Garrel, who, despite the full number of nominations, only leaves with two statuettes: one for Noémie Merlant awarded best supporting actress, and the other rewarding the best screenplay (Louis Garrel , Tanguy Viel and Naïla Guiguet).
Brad Pitt as a surprise guest
Surprise success of auteur cinema this year, the film arrives on the same line as Simone. The journey of the century by Olivier Dahan (best costume, best set), biopic by Simone Weil, A plein temps by Eric Gravel (best original music, best editing) – race against time by Laure Calamy in strike weather –, and Peace. Torment on the Islands, Albert Serra’s Tahitian trip. The César for the first film goes to one of the strong works of the year: Saint-Omer by Alice Diop, a straightforward staging of the trial of an infanticidal mother, revealing the bias that weighs on black identities.
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