In a rare convergence of cinematic celebrations, the same week witnessed the glittering contrasts between the César Awards in Paris and the Oscars in Los Angeles. While the Césars embraced political overtones and artistic audacity—honouring Jacques Audiard’s Emilia Pérez despite its controversies—the Oscars leaned into Hollywood’s penchant for spectacle and star power. As two distinct visions of cinema unfolded across continents.
Full disclosure: I do not like musicals, and I believe Timothée Chalamet deserved an Oscar for his publicity campaign. The man was honest: ‘I want to be the greatest actor of all time.’ I also admire the ‘modesty’.
César Awards Disappointments
This year’s César Awards, marking its fiftieth anniversary, unfolded at the Olympia in Paris on February 28, presided over by the iconic Catherine Deneuve. French cinema in 2024 offered a mix of celebrated blockbusters like The Count of Monte Cristo and more contentious works such as Emilia Pérez. The evening was a blend of triumphs, disappointments, and a few unexpected turns.
From the outset, Deneuve set a solemn tone, dedicating the ceremony to Ukraine amid heightened diplomatic tensions between Donald Trump and Volodymyr Zelensky at the White House. Wearing a pin in the Ukrainian colours, Deneuve’s gesture underscored the political undertones of the night.
The undisputed star of the evening was Jacques Audiard’s musical Emilia Pérez, which swept seven awards, including Best Film and Best Director. The film’s success was, however, shadowed by controversy due to racist and Islamophobic remarks attributed to its lead actress, Karla Sofía Gascón. Audiard, in his acceptance speech, chose to focus on the dedication of his cast, while the Academy’s decision to reward the film’s formal audacity raised eyebrows.
In stark contrast, some of 2024’s most popular films were notably snubbed. Un p’tit truc en plus,, a spring sensation with 11 million admissions, left empty-handed. The Count of Monte Cristo, a visually stunning epic that garnered international acclaim, secured only two technical awards for costumes and sets. L’Amour ouf, another crowd favourite, managed a single win with Alain Chabat claiming Best Supporting Actor.
The ceremony was not without its poignant moments. Abou Sangaré’s acceptance of the Male Revelation award for his role in L’Histoire de Souleymane was a highlight. Recently granted a residency permit after facing deportation, Sangaré’s emotional speech—’Thank you for your integration into humanity’—was met with resounding applause. Equally moving was Maiwène Barthélémy’s win for Best Female Revelation for her performance in Vingt Dieux, which also took home Best First Film.
In a surprising turn, the Best Actor and Best Actress awards went to Karim Leklou for The Romance of Jim and Hafsia Herzi for Borgo respectively. While both performances had been praised by critics, many expected the honours to go to more mainstream favourites such as Pierre Niney or Adèle Exarchopoulos.
The evening also celebrated cinematic legacy. Costa-Gavras, the Franco-Greek director renowned for Z and Missing, was honoured for his lifetime achievements. His latest film, Le Dernier Souffle, released earlier in February, served as a timely reminder of his enduring impact on cinema. Hollywood’s Julia Roberts added a touch of glamour, accepting an honorary César from her friend, actor Clive Owen.
Comic relief came courtesy of Frank Dubosc, who accepted the César for He Who Never Received a César with characteristic self-deprecation, lightening the atmosphere of an evening where critical recognition often overshadowed popular appeal.
As the César Awards concluded, they left behind a mix of admiration, controversy, and debate—perhaps the most fitting tribute to the complexity and passion of French and European cinema.
The Oscar race has been as chaotic as Conclave
In the meantime, over the ocean, in Los Angeles, a different atmosphere prevails. After the tons of scandals connected to the Oscars, very well remembered by The Guardian, the 97th Academy Awards was a disappointment and underlined the huge amount of money every actor and their agents injected into the campaigns. In the end it is the USA and talent is not enough.
The 97th Academy Awards offered a mix of the unconventional, the political, and the unexpectedly emotional. Sean Baker’s Anora emerged as the night’s big winner, claiming five Oscars, including Best Picture. The genre-blending film, a raw portrayal of sex work infused with sharp profanities, won Baker awards for directing, original screenplay, and editing. Mikey Madison’s surprise win for Best Actress as the film’s lead added to its triumph. In his acceptance speech, Baker thanked the sex worker community, dedicating his directing Oscar to his mother.
Anora, made for $6 million, also set a dubious record for the lowest domestic box office total for a Best Picture winner, earning just $15.7 million in the U.S. and Canada. Its distributor, Neon, now holds a title previously belonging to The Hurt Locker. Meanwhile, Adrien Brody’s portrayal of a Holocaust survivor in The Brutalist earned him his second Best Actor Oscar, adding to the film’s three awards. His emotional speech, calling for inclusivity and remembrance, was a standout moment.
Indie films dominated, reflecting the Academy’s evolving and increasingly international voter base. At least nine winners hailed from outside the U.S., reinforcing the Academy’s shift towards recognising more esoteric works. Flow, a Latvian animated film about a courageous cat, unexpectedly claimed the Best Animated Film award, beating out Inside Out 2 and The Wild Robot.
However, not all went smoothly. Hulu’s much-touted streaming debut of the Oscars was marred by widespread technical glitches, frustrating viewers and overshadowing Disney’s disappointing night, with A Complete Unknown leaving empty-handed despite eight nominations.
Political undertones resonated throughout the night. No Other Land, a documentary on the Israeli-Palestinian conflict, won Best Documentary, with co-director Basel Andra delivering a potent call for justice. Ariana Grande opened the nearly four-hour ceremony with Somewhere Over the Rainbow as a tribute to wildfire-ravaged Los Angeles, segueing into a powerful duet of Defying Gravity with Cynthia Erivo from Wicked, which won two Oscars.
Controversy, too, was unavoidable. Emilia Pérez, which had led with 13 nominations, was nearly shut out, winning only two awards amid backlash over derogatory comments by its star, Karla Sofía Gascón. Zoe Saldaña’s Best Supporting Actress win for the film faced accusations of category fraud, as did Kieran Culkin’s Best Supporting Actor award for A Real Pain.
In a break from the political tension, Conan O’Brien’s first stint as host delivered light-hearted, understated humour, offering a reprieve from the weighty themes. As the night closed, the Academy’s choices seemed to signal a preference for bold, independent voices, even at the cost of traditional box office appeal.
Also, I know you want to know how they dressed. Here’s a video of them on the red carpet.
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