We will remember, at first, the XXL base which allowed him to set foot in the dishes from the first minutes of the ceremony. Florence Foresti's introduction to the Césars on Friday evening - and her multiple, direct and varied allusions to the Polanski affair named twelve times for "J'accuse" - was worthy of a Ricky Gervais, English humorist whose she is a fan and who had spent all of napalm in Hollywood during the last Golden Globes. The sentence which will remain in the annals at the time of bursting the abscess: "Kékonfait avec Popol? Kékonfait with Atchoum? "
And to follow up so as not to have to undergo, alone, the management of the file: "It is 43 years after the facts ( Editor's note: rape of which the filmmaker is accused ), I will not settle that. At the time, I was 3 years old, I was in Lyon, I was still in the anal stage. He is in Hollywood… at the same stage. "Offended the public? "Do not do like him, do not do the innocent. Bim.
VIDEO. Césars 2020: "Adèle Haenel did well to leave the room"
But behind the vitriolic charge and its removed, audacious and courageous presentation (which by definition will not please everyone) on the Polanski affair, it is more generally a feminist performance of rare power than delivered Florence Foresti on the occasion of these Cesars. From the introductory sequence, in a slideshow on the faces of American actresses, young, then less young, redone, then very redone, she sets the scene.
"There are not enough pussies in French cinema"
Because throughout the evening, the 46-year-old comedian redraws in his own way, funny and (im) relevant, what it is to be a woman (and therefore a man) at the start of the 21st century. There are the obvious sequences like when, tired of seeing the few authors named in the best scenario category, she digresses on the lack of representation of felines on the screen. To finish with this simple, basic punchline: “There are not enough pussies in French cinema. "
And then there are the more subtle discourses. This way of redrawing the boundaries of cruising today by revisiting, with the assistance of Jonathan Cohen, the film "When Harry meets Sally". Because yes, why wouldn't it be "When Sally meets Harry"? Or this way of re-reading the Weinstein affair by reversing the roles, making the provocative and indecent return to a young dancer with a naked torso, beardless and muscular. With this objective (achieved) to show us the perversity of the situation, simply by changing the sexes of the main characters in this kind of files that swarm in full #MeToo.
Isabelle Adjani who plays with her image
Feminist and powerful too, her way of speaking about her status as "half-woman" because she is "pre-menopausal". And to continue on a ping-pong of seduction with Vincent Cassel of which she mocks his propensity to relocate with a much younger woman. “But in cinema, a year is worth ten. So you two are only three years apart, that's fine, ”she said in substance. A picture is better than a long speech…
Even the hysterical process that women with overly strong characters have always done is treated by Florence Foresti in a legendary sequence with Isabelle Adjani who plays with her image with a confusing second degree.
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And of course, the fall of the evening. By saying behind the scenes "disgusted" by the prize for the best achievement given to Roman Polanski, and by being unable "to come back on stage" for the end of the ceremony, the presenter rocked the evening into another dimension, to in unison with the shocking departure of Adèle Haenel. In French cinema, and even a little further, nothing will be as before.