Hollywood
Mauritanian ‘Timbuktu’ sweeps Cesar Awards; Sean Penn gets honorary award
NEW DELHI: Abderrahmane Sissako’s foreign-language Oscar-nominated Timbuktu swept the 40th Cesar Awards in France with seven awards including the Best film and director prizes.
The film also received awards for original screenplay (Abderrahmane Sissako, Kessen Tall), cinematography (Sofian el Fani), editing (Nadia Ben Rachid), sound (Philippe Welsh, Roman Dymn, and Thierry Delor), and music (Amin Bouhafa).
Timbuktu was curiously overlooked at Cannes where it world premiered in competition. Although the movie is considered to be the first Mauritanian film in the running for a foreign-language Oscar, it was financed in France, produced at Sylvie Pialat’s Paris-based Les Films du Worso and distributed/sold by Jean-Labadie’s Le Pacte.
Kristen Stewart was chosen supporting actress for her performance as Juliette Binoche’s assistant in Clouds of Sils Maria, becoming the first American actress to win a Cesar trophy.
Xavier Dolan’s French-Canadian Mommy won best foreign film and the best actor and actress wins went to Comedie Francaise-trained Pierre Niney for his performance in Jalil Lespert’s film on the famed French designer Yves Saint Laurent and Adele Haenel for her role in Love at First Fight.
Another picture on the designer by Bertrand Bonello, Saint Laurent, won best costumes award for Anais Romand.
Love at First Fight, an unusual romantic comedy that takes place in an Army boot camp, also won best directorial debut for Cailley and male newcomer for Kevin Azais. The film also marks the first film of its producer, Pierre Guyard at Nord-Ouest. The film has been sold to all major territories and will be distributed in the United States by Strand Releasing.
Up-and-coming thespian Reda Kateb, who previously starred in Zero Dark Thirty and Lost River, won best supporting actor for his performance as an intern in a Paris hospital in Hippocrate.
Eric Lartigau’s dramedy blockbuster La Famille Belier, the most mainstream contender of this year’s race, earned its star Louane Emera a best newcomer award. La Famille Belier is still playing in theaters and has so far totaled more than 6 million admissions.
Well-known American actor and director Sean Penn was presented an honorary Cesar award.
Other awards were: Adapted Screenplay – Cyril Gely, Volker Schlondorff, Diplomacy; Set Decoration – Thierry Flamand for ‘The Beauty and the Beast’; Animated Film – Minuscule and Documentary – Salt of the Earth, Wim Wenders.
Hollywood
Did the ballet and opera controversy cost Timothée Chalamet his Oscar?
The actor’s ‘dying art forms’ comments may have danced away his Oscar chances.
LOS ANGELES: Last night, the 98th Academy Awards delivered a performance that wasn’t in the script, as Michael B. Jordan clinched the Best Actor statue, leaving Timothée Chalamet’s widely predicted win to pirouette away into the night. While Chalamet was long considered the frontrunner for his starring turn in Marty Supreme, many are whispering that a singular, ill-timed performance, not on screen but on the campaign trail, may have rewritten the finale.
For months, the narrative surrounding the race had a singular star, Chalamet, the critics’ darling and the bookies’ bet. However, the closing numbers saw a dramatic plot twist. Chalamet found himself upstaged not just by his fellow nominees but by the ghost of public opinion, following remarks he made during a Variety and CNN actor-on-actor conversation in February.
What started as a breezy discussion turned distinctly frosty when Chalamet, the conversation’s designated trendsetter, took aim at some classical institutions. “I don’t want to be working in ballet or opera, where no one is interested anymore,” he said, before branding them “dying art forms.”
The backlash was swift and, unfortunately for Chalamet’s campaign, star-studded. For the film industry, an establishment that often fancies itself as the glamorous custodian of the high arts, the actor’s comments didn’t just strike a bum note. They sounded like a discordant symphony. Academy heavyweights, including Jamie Lee Curtis, Whoopi Goldberg and Steven Spielberg, publicly voiced their disapproval. Spielberg himself countered that the “cinematic experience” and classical performance are bound by a similar dedication to audience engagement, effectively suggesting that Chalamet’s view was perhaps a bit too modern for its own good.
The conversation quickly became a media maelstrom. In a masterstroke of high-culture clapback, renowned ballerina Misty Copeland didn’t just issue a statement. The Academy even choreographed a surprise performance by her for the ceremony itself, a powerful, wordless rebuttal that many saw as a direct riposte to Chalamet’s dismissive claims. Even regional arts institutions joined the choreography. The Seattle Opera offered a cheeky “TIMOTHEE” discount, granting a 14 percent markdown to prove that people do, in fact, care.
Did this cultural counterpoint truly cost Chalamet his win? While some industry insiders argue that Michael B. Jordan’s complex dual performance in Sinners, a performance that also swept the SAG Awards, had simply built up too much momentum, the timing of Chalamet’s comments was undeniably poor. Coming as final Oscar voting began, they arguably soured his narrative and made a vote for him feel, to some, like a vote against artistic unity.
Even the ceremony itself wasn’t finished with the narrative. Host Conan O’Brien, whose sharp tongue is a celebrated feature of these galas, didn’t miss a beat. “Security is extremely tight tonight,” O’Brien jibed during his opening monologue, glancing toward the front row. “I’m told there are concerns about attacks from both the opera and ballet communities. They’re just mad you left out jazz!”
The laughter that followed was pointed, a final public curtain call for a controversy that Chalamet likely wished had closed weeks ago. Whether it was a case of genuine peer disapproval, a sudden surge in support for Jordan’s powerhouse performance, or simply a case of poor footwork on the campaign stage, the ballet and opera debacle has now cemented its place in Oscar history. Chalamet’s experience serves as a clear memo to future contenders. Even when you are the headline act, a solo performance can still fall flat if you forget to play to the entire house.
