Do the Caesars still have a future? The question can be asked the day following a 2022 edition which will remain in everything except in the memories. On the audience side, it’s the Berezina. Last year the ceremony attracted only 1.6 million viewers, the lowest for 10 years. This year it was worse. With 1.3 million onlookers, this is three times less than the record recorded in 2012. Nothing seems more capable of plugging the leak, not even a reminder of a more than sure value for playing the masters of ceremonies in the person of Antoine de Caunes.
Some will say that it is the fault of the context and of this war in Ukraine which monopolizes the attention. Is it not rather a sequel to the Roman Polanski affair which had shaken the ceremony in 2019 that is to be blamed? Or, more probably still, the sense of a ceremony plagued by an inter-self from another time reinforced in 2021 by the abolition of the César du public instituted in 2018 and rewarding the film most seen by the French. So many criticisms already formulated once morest the Magrittes who experienced an even more monumental flop this year.
Finally, what do we remember from this evening if not a pair of buttocks, that of the influencer Marie infiltrates who was inspired by what Corine Masiero did last year? Even she wasn’t proud of it: “At the time, I wanted to die, she told the Parisian . It was just a stroke of madness, a loosening of the ass. The Caesars are so stuck, hyper prout-prout, it’s a shame.”
Even José Garcia’s attempts to disrupt the ceremony to tease his torturer from Caunes and Omar Sy’s attempt to create a little atmosphere thanks to Stromae (see page 15) failed to unblock the ceremony. Only the tribute paid by Xavier Dolan to Gaspar Ulliel gave a little sparkle to the meeting.
We come to forget thatlost illusionsthe adaptation of Balzac by Xavier Gianolli, won 7 trophies (out of 15 nominations), including the best photo for the Belgian Christophe Beaucarne, whom Leos Carax won 5 for Annette and that the documentary Maelbeek by Frenchman Joffroy Chantoudis, devoted to a survivor of the attack that mourned the station of the same name in Brussels in 2016, was named Best Documentary Short Film. For the rest, move around, there is nothing to see.
