Perhaps we should be forgiven for the high heels, the dizzying necklines, the tapered leg which is revealed with each step of the sheath dress signed by a great house – of a house inevitably reviled, which dares to continue to shine France abroad, which creates jobs in France, and, unforgivable crime: makes profits! Perhaps all this overplayed glamor is too indecent, this overdose of lipstick, false eyelashes, artifice, cinema. The public should not start dreaming! He could forget the struggle, the shit under his feet, the future blocked by the extreme right which is everywhere, fascist France, the jungle of predators that cinema has become. Finally, predators from before, disgusting old fat people who thought they could do anything, who screamed “dicks” and “balls” and “muscles” – even in films!
Because today, cinema is no longer that at all. From the sets to the content of the films, we’ll stop the bullshit, we promise. From now on, cinema is about stories that strictly stick to describing the indestructible reality that never progresses and crushes women, children, people of color, minorities, the marginalized, etc. In summary: we’re going to get lost severe at the Césars ceremony, where French cinema will put on a show, merciless moralizing for the public who will look elsewhere to nourish their souls.
The Césars academy, which cleanses French cinema of all its sins, has decided “out of respect for the victims, that people who would be implicated by the justice system for acts of violence would not be brought to light during the ceremony 2023” – decision renewed in 2024. But. What does it matter if “the revelation of the indictment decision or the criminal conviction” is the work of “the national media, the victim as a civil party or his lawyer”…
The spotlight is no for all the “bastards”, presumption of innocence or not, convicted or not yet convicted, no matter where the denunciation comes from, it constitutes condemnation. And if, despite all this paralyzing moral bludgeoning, voters came to the idea of designating someone already guilty and not yet convicted, he would be banned from the stage, from speeches, from the media. The Caesars set themselves up as judges and censors. The ceremony will therefore see a bunch of actors, directors, technicians, activists without stains and without records – well except Ladj Ly, but all is forgiven because it is not he who committed an honor killing and sentenced to three years in prison, two years of which are closed, no, it was the heterosexual racist colonialist society that forced his hand -, who will all have a very well-written word for the oppressed of the world and the victims of “VSS” ( understand: gender-based and sexual violence) under the feudal pretext of “we believe you” – despite justice.
The swan song of free French cinema
The irony in this sinister affair of false ass and virtue is Anatomy of a fall. The film nominated in five categories, including best director, at the Oscars was not selected by France to represent it at the Oscars – a consequence of the ungrateful and dishonest speech by director Justine Triet after winning the Palme d’ gold. But the irony is not there. The irony is in the quality of the film and its characters, the irony is in THE scene of the film, the sequence of the argument, which conscientiously dismantles all the nonsense that neo-feminists rehash, where it is only a question of responsibility and choice, neither victim nor patriarchy, and where a couple balances their truths which always smell of bitterness and envy, where madame is a temperament before being a woman, a writer before being a mother ; the irony is in the child who is as manipulative as adults, who knows but does not want to know, who has forgotten his innocence in real life – like all children; perhaps the irony is thatAnatomy of a fall is the elegant and superb swan song of free French cinema.
Because, after this endless sketch of purity for dummies, who will dare to tell a story that goes beyond the ideological synthesis of identity? Who will dare to write a female character who does not suffer from her life as a woman? Who will still dare to smile and laugh and enjoy and love life and the flesh in a French film? Who will still dare to defy censorship? Who will still dare to create?
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