Five years ago, on October 5, 2017, the New York Times published an investigation by journalists Jodi Kantor and Megan Twohey into accusations of sexual harassment against the hitherto untouchable Hollywood producer Harvey Weinstein. On October 15, a tweet from actress Alyssa Milano ended up lighting the fuse on social networks. The floodgates of the #MeToo movement have just opened.
As we currently celebrate five years since the #MeToo blast, the French moviea reference newspaper in the film industry, published last week its number 4040. On the cover, seven white men, with in title and in capital letters: “Objective: Reconquest!” Alongside Jérôme Seydoux, billionaire boss of Pathé, well-known and recognized French actors and directors Pio Marmaï, Vincent Cassel, François Civil, Pierre Niney and Dany Boon. Faced with the legitimate outcry on social networks, the newspaper apologized.
While Julia Ducournau, Audrey Diwan, Jane Campion and Carla Simón have successively won the Palme d’or, Lion d’or, Oscar for Best Director and Ours d’or, the most prestigious awards in cinema, how could such a misunderstanding is it still possible? Whether through their original works or their performance, here are seven women who won us over in 2022.
2021, the year of the coronation of women in cinema
Navigating in the ecosystem of French cinema for more than twenty years, Laure Calamy has hit the mark in many remarkable supporting roles. Revealed in 2015 by her role as an emotional and determined assistant in Ten percent, French cinema finally opened its arms wide to him. In 2021, she won the Orizzonti Prize for Best Actress at the Venice Film Festival 2021 for the striking film by Éric Gravel Full time and the César for Best Actress for the great public and critical success Antoinette in the Cevennes.
In 2022, she will hold the poster ofAnnie Angerin which she fights for the right to abortion by getting involved in the field, and thriller The Origin of Evilwhere she definitely has no equal to embody fake candids who flirt with madness.
Regularly rewarded, Alice Diop is a big name in French cinema. In 2016, she documented the love life of suburban youth in Towards tendernesswhich received the César for Best Short Film, and more recently, she filmed RER B passengers in Wea double award-winning documentary at the Berlinale.
This year, repeat. While the talented French filmmaker tried her hand at fiction for the first time with Saint-Omer, a film about motherhood inspired by a news item, she won the winning double at the Venice Film Festival with the Grand Jury Prize and the prize for first film. Consecration, it is also his film that the CNC has chosen to send to compete for the Oscars next March. It remains to be seen whether she will succeed in being one of the five finalists present at the Dolby Theater.
Here are the 10 women who have marked the cinema in 2020
The one who needs no introduction continues to establish her status as the best French actress a little more each year. Mistress of ceremonies at the Cannes Film Festival in 2022, she was also featured in four films: Waiting for Bojangles, Don Juan, See Paris again and Other people’s children. But it is in the latter that she is particularly illustrated.
She is imperial in the role of Rachel, a childless 40-year-old French teacher who falls in love with Ali, divorced and father of a 4-year-old girl, in a universal experience but whose representation is filmed with rare subtlety and emotion. With this new film and after two fruitful collaborations with Justine Triet, Virginie Efira proves that she knows how to carefully choose the directors with whom to partner.
Whether Falcon Lake, her first film as a director, has not yet been released, it was presented at the Directors’ Fortnight in Cannes and won the Ornano-Valenti prize at the Deauville Festival. And it is certain that Charlotte Le Bon will mark the year thanks to this more than successful first attempt.
For this trial run, the Quebec director has therefore not chosen the easy way and adapts the subversive and sensual comic strip A sister, by Bastien Vivès, to recount the family holidays of Antoine (Bastien in the film), 13, and his sexual awakening by Hélène (Chloé in the film), 16, the daughter of the couple of friends of his parents. But thanks to the delicacy and modesty with which she films adolescent sexual awakening, she delivers a teen movie modest on the edge of the fantastic and, above all, a very pretty story of love and ghosts.
Review: Falcon Lake, Charlotte Le Bon’s first film, is really good
If the 33-year-old director has already brought her pen to the screenplays of the greatest (we are thinking here in particular of the Olympiads by Jacques Audiard), this year in Cannes, she has confirmed that she is a talent of French cinema to watch closely. With The Five Devils, her second feature film, she films Vicky, a little girl endowed with an overdeveloped sense of smell, whom smells transport to her mother’s past. The director mixes naturalism and fantasy to question the weight of family secrets that are passed on to subsequent generations.
After AvaLéa Mysius continues to deploy her very own universe, a universe of fantastic tales rooted in the five senses and the four elements and populated by enigmatic children.
In Cannes, Léa Mysius confirms that she is a talent of French cinema to watch closely
With between the waves, an incisive and energetic first film, Anaïs Volpé has established herself as a promising director to dust off French cinema. She films two energetic actresses there, Souheila Yacoub (powerful in Climax Where The Savages) and Déborah Lukumuena (the star of divine), who play two friends in theater school. When one is taken to play the main role of a play, the other is called upon to do his understudy.
Anaïs Volpé realizes here a story of friendship powerful and inhabited by her actresses, who sweat with ardour. A filmmaker to follow closely.
In 2022, the gifted French director returns with a fifth feature film, the most successful and the most sensitive of all. And once again, she films there a feminine trajectory that comes out of the frames with a subtlety and a rare emotion. Without shouting and without anger, avoiding the conflicts inherent in the stories of separations or recomposed families, she offers us a soft and nuanced film.
By recounting the intimate questions of her heroine in her forties and future mother-in-law, the director questions the notion of family, maternal desire and the cruelty of time which passes at two speeds for men and women.
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Here are seven women who conquered French cinema in 2022