A prick in the culture

In the columns of Parisian from this Thursday, 200 artists (including Nagui, first short story) plead, at the initiative of Stanislas Nordey, for a rapid vaccination so that the virus very quickly disappears and theaters can quickly reopen, letting cultural life resume its rights. “For now, the vaccine is the only solution to regain a normal life”, pleads Gérard Jugnot, “Informed citizen” who has “Confidence in medicine”. He also considers inevitable the creation of a vaccine passport to enter theaters, a proposal that Roselyne Bachelot however refused yesterday in the name of freedom of vaccination. “When we were children, we all got vaccinated without asking any questions. It’s the same today, and it’s urgent ”, adds Julie Gayet, who then explains that François Hollande agrees.

Chiot must go on

However, some artists resist. The anti-all pasionaria Brigitte Bardot sees in the Covid an uncontrollable self-regulation of terrestrial demography and explains to Here in Paris: “This vaccine may be unusable, because the virus will mutate. It has already started, and this is just the start of a race for the labs. “ What venality. Jugnot, Gayet and others are obviously not talking about money. But exemplary. After having undergone confinement, curfews, re-containment and the closing of the rooms, they abandon their status as creators to highlight only what remains when we have scraped all the drawers and bazaarded the chest of drawers: their bodies, the actor in the ‘bone, naked on stage, offering the container of his arteries to Pfizer to be able to launch his tirade. Or, to put it in language BB can understand: puppy must go on.

Read alsoRave-party, a radical festive event

This new union between art and medicine does not pass through the Marseille IHU of Raoult but through the Cannes bunker. The Palais des Festivals, transformed for the first confinement into a reception center for homeless people, is reconfigured this time from Saturday into a vaccinodrome capable of saving lives, for caregivers first, then for caregivers of more than 50 years old or with comorbidity. One of the solutions for the Festival, which we do not yet know if it will be able to be held in May, would be to leave the equipment available so that the accredited ones can be discreetly inoculated the vaccine by going to get their precious pass to access the screenings. . What a delight then to watch the latest Kechiche under antibody or to consider any failure as a regrettable side effect. Let’s dream together of reversing cause and effect, and instead of waiting for everyone to be vaccinated to reopen theaters and cinema, let’s reopen them first and vaccinate all the spectators who come there.

Guillaume Tion


France wants to win back industrial jobs

Closed manufacturer in Donges near Saint-Nazaire

No other EU country has relocated industrial jobs abroad on such a large scale as France.

(Photo: AFP)

Paris Thick black smoke from burning car tires and hundreds of unionists in red vests greet Emmanuel Macron. Shortly before the second presidential election, he rushed to Amiens to hold discussions with workers at a Whirlpool plant. 650 livelihoods are at stake because the group no longer wants to have clothes dryers manufactured in France, but in Poland. After heated arguments, the candidate finds it difficult to get his message across: “I don’t promise you that I can save your jobs, but I will fight to ensure that your children get a better education.”

Eleven days later, Emmanuel Macron was elected president. The vocational training reform is one of the most important changes it has achieved. That didn’t help the Whirlpool employees: 86 people are still working there after two takeovers. The prefecture announced a few days ago that there is a risk of permanent closure.

The Amiens plant would be another stop in a long ordeal for industries that have gone bankrupt or turned their backs on France over the past 40 years. But without strong industry – as the corona crisis shows in particular – a country is not resilient. They are less able to defend their health systems and often simply lack the resources to fight against external and internal shocks.

“France is among the major industrialized countries that has suffered the greatest deindustrialization in the past few decades,” France Stratégie, the prime minister’s think tank, states in an analysis of several hundred pages. Since 1980 the industrial sectors have lost half of their employees and 2.2 million jobs have been lost.

In 2018 and 2019 industrial employment rose again for the first time. “But the Covid crisis fundamentally calls this trend into question,” said the economists of the report. The share of industry in gross value added in France is 13.5 percent. In Germany it is 24.3 percent, the EU average almost 20 percent.

France has become the “European champion in delocalization” over the years, is the second important finding of France Stratégie. No other EU country has shifted industrial jobs abroad on such a large scale in order to react to disadvantageous cost structures. While Germany exported goods, France exported entire branches of industry.


A shrinking industry has negative economic, social and political consequences. In industry, productivity is growing faster on average than in other sectors. In France, industry accounts for more than two thirds of private spending on research and development. As their weight decreases, their growth and thus their ability to generate income decrease.

A chronic trade deficit is building up. The transferred income from investments abroad only compensates for this to a limited extent. And they encourage an uneven distribution of income, because they primarily benefit the wealthy. Ultimately, entire formerly flourishing regions are deserted, whose population feels disadvantaged and votes right-wing populists in protest.

Germany exports goods, France industries

Nicolas Sarkozy, and after him François Hollande, recognized the problem. “I want to secure industrial employment in the long term,” said Sarkozy in 2010. The conservative president issued a “large national bond”, of which 6.5 billion euros should benefit industry. For many French, however, deindustrialization remained a statistical phenomenon or even an expression of modernity for a long time: the country was changing into a service economy faster than Germany, it was said.

But then Corona came. With the pandemic, the carelessness is gone. Since the spring, the French have been disturbed by the fact that one of the largest economies in the world cannot produce enough ventilators, that the most important drugs have to be imported from China and that there is not even the ability to produce sufficient quantities of the reagents for corona tests.

Macron reacted immediately: “The re-localization of production is the most important lever to secure our sovereignty,” he said in June when visiting a factory of the pharmaceutical company Sanofi. France must be able to produce strategic goods domestically or in Europe again. He promised 15 billion euros in order to achieve the return of the outsourced jobs and skills.


Economy Minister Bruno Le Maire and State Secretary Agnès Pannier-Runacher have now honored 31 companies that they consider to be exemplary. 680 million euros in investments would be mobilized, 150 million euros of which from the state. 4000 jobs would be secured, “1800 new ones should be created”, says Pannier-Runacher. How many of them return from abroad, their spokesman did not want to say when asked.

France Industrie emphasizes two crucial weaknesses: Because of high costs, the competitiveness of the industry has been destroyed for decades. Not through excessive wage increases, but through a toxic cocktail of high, income-independent taxes and very high social security contributions.

Only medium quality level

The second weakness: Instead of switching to products that are of higher quality and contain more technology, the industry has remained on average at a medium quality level and has sought salvation in the relocation of jobs to low-wage countries. Patrick Artus, chief economist at the Natixis investment bank, likes to sum this up in the following sentence: “France produces goods at Spanish technology level, but at German prices.”

Will France remain in search of lost industry? Hollande introduced tax incentives for research and the reduction of labor costs. Macron has made other important corrections, as the upward trend in industrial employment in 2018 and 2019 shows. One can only hope that he will catch up with them after the Covid crisis.

More: Read here what the new corona restrictions mean for the economy in Germany


“From day to day”: before and after in pictures in front of the Bataclan

After considering several places in Paris, it was finally the May-Picqueray garden that was selected. Very few should be able to locate on a map of the capital this green space saluting the memory of an anar activist of the last century (who was also José Bové’s secretary and … Libé). But geolocation becomes easier when we know that it was previously identified under the name of Square du Bataclan. It is therefore on its gates that will be presented, from this commemorative Friday, the photographs of “Paris, November 13 – From day to day …”

An artistic project that was designed in consultation with the association 13onze15 Fraternité et Truth, created by victims of the attacks in Paris and Saint-Denis. Which only retrieved one image, among all those previously submitted for its approval: we saw two armed cops, stashed behind a car, each looking in opposite directions. Too violent and evocative.

Led by Laura Serani and Camille Morin, the exhibition and the copious catalog (300 pages, enriched with numerous testimonials, including an interview with François Hollande) bring together forty-two leading names, French and international, who were asked to provide two photographs: one taken before the fateful night, symbolizing in their eyes the life before, possibly mixed with“Carelessness and levity” (even though Islamist terrorism had already sown desolation in the recent past); and the other, after the tragedy, deserving to be interpreted as “An act of resistance […] echo of sorrows, fears, but also hope, revolt and resilience ”. All complemented by a text explaining the choice, or telling the story of the fatal evening as it was experienced by the authors of whom we discover, incidentally, that many were hanging around at the time of the facts in the area – reputedly friendly sector, between terraces and restaurants, where it was good to extend the day spent at the Paris Photo festival, which had opened its doors the day before.

From a detailed examination of the selection, we will note that several had a very elastic interpretation of the chronology of the specifications, like Catherine Poncin, Todd Hido, Hicham Gardaf; or Sabine Weiss who, prerogative of age and iconic status (?), sent a night photo of the Concorde obelisk dated 1950 and, for the more recent part (sic), an embracing couple on the first floor of a restaurant in Montmartre in… 1953. The commentary, on the other hand, does not tolerate any apocryphal interpretation: “I no longer understand this world that I have embraced so much.”

This benign compromise pinned down, the common goodwill suffers no challenge, which, once overcome the stupor (this group of appalled friends, gathered in an apartment, by Nicola Lo Calzo), favors a sincerely cathartic overview, from Hannah Whitaker’s nurturing breast, to Frédéric Stucin’s flowering tree.

“Paris, November 13, 2015 – From overnight…”, exhibition on the gates of the May-Picqueray garden, 75011.
Free entry, until March 11.
Catalog to eds. 13onze15 / The Wall Projects.

Gilles Renault


the first images of Jean Dujardin dressed as Nicolas Sarkozy

Oscar winner for The Artist interpreter, in the film of Anne Fontaine, the former president forced to team up with his enemy of 2012, François Hollande.

Filming for the film began in October.  No release date has been announced yet.
Filming for the film began in October. No release date has been announced yet. AFP

«More than a biopic, a fable“. The shooting of Presidents , Anne Fontaine’s next film with Jean Dujardin and Nicolas Gadebois has just started. On his Instagram account, the interpreter of the next OSS 117 published in the night a photo of the first scenes of the feature film, in which he plays Nicolas, a character very largely inspired by the former head of state of the same name.

Ray-Ban screwed on the nose or open shirt with shiny chain, Jean Dujardin plays a former president on the return, eager to reconquer France, reports Allocine . To carry out his plan, he tries to convince his former political opponent François – played by a Nicolas Gadebois, bluffing in François Hollande – who lives a quiet retirement in Corrèze. “It’s about the comedy of power and the difficulty of no longer being in charge. It is the meeting of two political opponents who will live a kind of adventure», Explained Anne Fontaine to The New Republic . Doria Tillier, Pascale Arbillot and Jean-Michel Lahmi complete the cast of the film, whose release date is still unknown.

In 2011, Denis Podalydès had already played Nicolas Sarkozy in The conquest by Xavier Durringer, who reviewed the rise of the political animal to the head of state. TV movie The Last Campaign meanwhile dealt with the Hollande-Sarkozy duel in 2012, with Thierry Frémont and Patrick Braoudé in the title roles. Presidents would it arise as the final part of a saga that does not speak its name, dedicated to the sixth leader of the Vth Republic ?


A cold funeral for Juliette Greco in Saint-Germain-des-Prés

Appointment was given on the forecourt of the church of Saint-Germain-des-Prés, close to the high places of the existentialist revolution of post-war Paris. How not to organize the last tribute to Juliette Gréco in this district. She was both its muse and its soul.

The ghosts of Boris Vian, Jacques Prévert, Jean-Paul Sartre and other Miles Davis had to make their way through a backdoor. From the world of the living, politicians and artists had made the trip to pay tribute to a woman who had become over the years one of the jewels of French culture.

This traveling companion of the left had attracted Jack Lang, but also the former president François Hollande, accompanied by the actress Julie Gayet. Brigitte Macron represented her husband, and Gilles Legendre, deputy of the 5th, 6th and 7th arrondissements, the city of Paris. All seated at a good distance – Covid-19 obliges- from the singer’s granddaughter, Julie-Amour Rossini.

Coming from the world of show business, Christophe Miossec took his place early in the church, soon followed by Francis Lalanne, Zazie or Claude Lemesle, one of the most prolific lyricists of French song, who had written for the singer in the 1980s.

Outside the church, in the square, a Morris column displays a famous black and white photo of Juliette Gréco. BERTRAND GUAY / AFP

To deliver the homily, Monsignor Benedict of Sinety, who already officiated during Johnny Hallyday’s funeral in 2017. He emphasized the religious dimension of a woman who claimed not to believe in God but in Jesus. “God gave his love to all of his creatures. This love, Juliette Gréco sought, desired, lived (…). His face, his words, his gentleness, his smile have illuminated your lives ”, he said in his homily.

As master of ceremonies, our conferee Didier Varrod, music director of Radio France, was the first to testify, recounting his moments with the lady, in Paris as in Ramatuelle, and citing the title of one of his best records, Love each other, or else just disappear, according to Manset. Jacqueline Franjou, director of the Ramatuelle festival, spoke of Gréco in love with words. “Who loved them better than you?” “ she asked, facing the deceased’s little girl. She spoke of the generosity, intelligence and tenderness of her 36-year-old friend.

The television producer Catherine Ceylac had chosen to retain an anthology of quotes from the lady, including this one: “Never trust those who talk too much. “ It turned out to be particularly appropriate.

Spiritual son of Greco, Abd Al Malik, modest and sober, evoked the love which “held (her) tightly in his arms. »But the most beautiful tribute, of those which made the 300 people present shiver, was that rendered by Catherine Ringer singing There is no more after, by Guy Béart, supported by a simple accordion. The white coffin then came out of the church to applause, as is customary for the funerals of the personalities of the spectacle. The hearse took the direction of the cemetery of Montparnasse where the burial was to take place “In the strictest privacy“. There really is no more after in Saint-Germain-des-Prés …


How Macron is waging his secret wars

INVESTIGATION – Since his election, the President has launched increasingly offensive military operations and authorizes serial “neutralizations”. Our collaborator Vincent Nouzille investigated this top secret facet of presidential action.

By Vincent Nouzille

Emmanuel Macron, May 14, 2019, during the tribute ceremony to the two special forces soldiers who died on May 10 during an operation in Burkina Faso.
Emmanuel Macron, May 14, 2019, during the tribute ceremony to the two special forces soldiers who died on May 10 during an operation in Burkina Faso. Jacques Witt / SIPA

It was a summery, but chilling defense council. On August 11, 2020, from Fort Brégançon, President Emmanuel Macron meets by videoconference with his Prime Minister Jean Castex, the royal ministers, the chief of staff of the armed forces and the bosses of the intelligence services. The agenda is serious, mourning the murder, on August 9, of eight people, two Nigerians and six French members of the NGO Acted, in the Kouré reserve, near Niamey, in Niger. A real massacre committed by men arriving on motorcycles.

Until now, this area still seemed protected from repeated attacks by jihadist groups who have spread their guerrillas in several countries of the Sahel. The 5,100 French soldiers of Operation Barkhane have increased for six months the lightning operations aimed at weakening the two main rival nebulae, the GSIM (Support Group for Islam and Muslims), linked to al-Qaida, and the EIGS (Islamic State in the Great Sahara), affiliated with Daesh, in particular

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Juliette Gréco: letter to Madame

Singer Juliette Gréco died on Wednesday. We are republishing a portrait published in 2015.

Madam, if I allow myself to write to you, it is because I hope you will forgive me for this audacity. I also hope that you are doing better since that gloomy November afternoon, when the dead leaves were gathered with a shovel. You were in little shape then. I will remember your kindness – “It’s a bad attitude to despise the press” – during the almost two hours that you received me in your house in Oise, which you have owned for sixty years, but where “You fuck yourself” in a village without shops. This is why you plan to come back to live in a house in Paris, a city that you left twenty-five years ago.

I activated the bronze hand that serves as a doorbell on the front door. After a few seconds, the glasses stuck in your jet black hair, you slid your sweet face into the cold and invited me in. “Shall I settle into that one?” I said pointing to one of the two sofas in your living room. “You have better!” you replied, brandishing a falsely vindictive right index finger. Provocative (per game), you found it useful to specify: “I have a bad temper, I am intransigent.”

In the fireplace, logs warmed us and tried to do the same with your heart that you had big that day. You told me you were sad. The fault of a malicious visitor who, you say, stole a painting by Serge Gainsbourg dating from the early 1960s and replaced it with a copy. It was the last one he had painted and he had given it to you when he saw you, as usual at your address.

Gainsbourg, as you called him, with whom you spent a – wise – night in 1962, locking champagne while listening to music. Then you started dancing “Like a moth”, but without undressing. However, “Serge was handsome, with magnificent eyes and hands”. You like to say: “There are people who have nothing behind their eyes.” Besides, blindness is your anxiety, the augury of no longer seeing you “Fuck off”.

The next day, Gainsbourg came back to you. He had arrived with a sheet of paper, had sat down at the piano to sing you a song he had written and composed before dawn when he returned home. Javanese, Madam, you inspired her Javanese ! Pretty kid, your beauty had stunned him. Still, you make sure you never liked your body bark. “I don’t look at myself, I’m not in love with myself, I find myself ugly, you say. I might be my worst customer, j I am terribly demanding of me. I prefer to love others. ” The others, you cherish them, without wanting to make special efforts, “If not to be polite”. “I would hate to be rude and hurt others.” Fame ? You don’t care: “I live the life, the lives that have been offered to me. And I had plenty. ”

This existence, I listened to you humbly tell it to me, confide in me your wonders, the encounters that have marked your rich journey. Artistic as in love. Vian, Prévert, Ferré, Béart, Brassens, Trenet and even Sartre, etc. All of them have written songs for you. Your repertoire has between 500 and 600, you don’t know exactly how many, because you don’t know “Not count”. None have your preference, because “Each was a choice”. You have never written texts yourself and do not play any instrument. “I play with myself, you say, because I am an instrument in my own right. “ Olivia Ruiz, Benjamin Biolay, Miossec – “I love” -, Abd al-Malik – “He says I’m a rocker” -, Christine and The Queens – “She’s amazing, that one” – and Etienne Daho – “His talent and his proud humility touch me” – are the current actors of the French music scene who have your favors. Just like, in another genre, François Hollande, because you have “Always interested in politics”. In 2012, you voted for the socialist with “A lot of enthusiasm” and you have “Difficulty in thinking badly about it”. You say : “I am not defeatist and, as he is intelligent, all hopes are allowed.”

Madam, I delighted in the story of your meeting in 1949 with Miles Davis in Saint-Germain-des-Prés, then in your love story. You were 22 years old and have “Immediately succumbed” with the charm of the American jazzman. “I hadn’t seen he was black. I had only seen her beauty, and he had not seen that I was white. Fortunately, because he was a racist. And he was flirtatious as a girl. “ For fear that you would suffer from racism by moving to the United States with him, he refused to propose to you in marriage. One day Sartre asked him why he wasn’t marrying you. Miles Davis replied that it was because he loved you. “Anyway, I would have refused to marry him!” assert yourself, admitting that you continued to love yourself in your own way until her last breath. You were married three times thereafter. The first, with actor Philippe Lemaire, “To acquire freedom”. Your only daughter will be born from this union. Here you are now “grandma”. In 1966, Michel Piccoli also put the ring on your finger, before you left him in 1977. “I was very happy in love, but I always left before it got bad.” Bravery ? “Not really. It is better to preserve friendship. I have remained friends with all my guys. ” For twenty-seven years, you have been married to Gérard Jouannest, who composed some thirty songs for Brel and has been accompanying you on the piano on stage since 1968. Because, with you, there have always been afterwards.

Things seemed badly off from the start. As a child, do you remember that your mom didn’t love you, that she never loved you, that she “Almost everything refused”, that she hit you one day when you were “The fruit of rape” from her husband. Your father, then. “For her, I was just a bad memory. On the other hand, she loved my sister. ” So you fought. “The child is tenacious. He is still in me. And this child tells me that I have done a good job. ” You were raised in convents and escaped deportation in 1943, unlike your mother and sister. And if you hadn’t been a singer, you would have been “In helping others”, “To give everything [votre] love potential ”. I can easily believe you. Lately you have “worked a lot” to revise the texts of the titles that you will sing until April 2016, before leaving: “At a certain age, you have to know when to stop, out of courtesy and politeness.” If you say so, Madam… Yours truly.

1927 Birth. [1945 Discover Saint-Germain-des-Prés. 1948 Beginnings as a singer. 1949 Debut in the cinema. December 18 La Cigale in Paris. December 19 Champs-Elysées Theater. 17 avril 2016 End of tour at the Casino de Paris.

Philippe Brochen


Michel Piccoli at “Libé” in 2013: “The directors delegate their secrets to me”

While we learn of the disappearance of Michel Piccoli at the age of 94, we republish the portrait that painted Release on the last page, in 2013, and titled “Valive, the monument

In September 2011, in the (complimentary) criticism that Released devoted to Habemus Papam by Nanni Moretti, the reader was challenged: “Do you know the expression” sacred monster “? It is played there, in front of you. ” Michel Piccoli of course, who, on the day of the meeting, is there before us, for real, in the empty hall of the Cinémathèque française, where a month-long tribute (screenings, lectures) is paid to him. Less tired by age than what his last appearances had suggested, he comments on a few movie posters, has fun with an “Operating Room” sign: “Exploitation, what a funny word!” In an impersonal space, he sits on an office chair his tall waist, hunched over by his 87 years, but carrying a flamboyant past. The voice is serene, oscillates between humor and gravity. He thinks long before each answer, out of a taste for precision, for fear of being incorrect. The practice of the interview does not please those for whom notoriety has “Never, never ever” was any kind of engine, but it sticks to it. He explains : “I find it immodest to talk about yourself. But I rarely say no, because it is so cheeky that someone asks you to talk about your life, that it becomes very pretentious to refuse. “ A nice trick of mental sleight which he will use all along with brilliance. About this tribute from the Cinémathèque française: “I don’t like decorations. So, I felt compelled to say no. And then I said to myself that it would seem presumptuous to refuse. ”

Piccoli is a brown body with a strange presence in its normality (or vice versa), which served as film material for Renoir, Godard, Buñuel, Ferreri, Rivette, Sautet, Brisseau, Vecchiali, Bonello, Carax… Without no contemporary equivalent, he has built a feline career, leaping all over the rooftops of cinephilia, striving to never fall back in the same place, to reinvent himself, to shoot constantly. “I have only one desire: never to be stuck in my acting profession. You always have to find innovations, know that you have to change everything, put things in jeopardy when they have become admirable. ” He evokes the idea of ​​”travel” and explains: “I’m talking about an internal journey, between different worldviews.” He has this magnificent word: “The directors delegate their secrets to me.” He got carried away in a concentrated enthusiasm: “An actor and a filmmaker are two people who constantly watch each other. I’m working with a director to understand why he chose me, how far he allows me to go in his utmost secrecy. ” It is a nice slip, replaces “director” by “Senator”, conferring on the profession will have legitimacy and power. “I knew the secrets of all the senators I worked with, I questioned them, bypassed them, and I never missed one”, entrusts the one to whom the masters of the image, Godard, Ruiz or de Oliveira have entrusted, precisely, their role and therefore their image.

His secrets, he is careful not to tell. “Am I modest?” Yes, yes and yes.” Does he just recall his childhood in the XIIIe arrondissement, in a bourgeois family, his discovery of theater at boarding school, his beginnings during Simon, his first roles in cinema at the turn of the 1940s and 1950s. Nothing about his family life, the women he loved (Eléonore Hirt, Juliette Gréco or his current wife, the screenwriter Ludivine Clerc), of his children. He describes his own daily life as “very calm”, lives in the Bastille district of Paris. He evokes a family drama, a brother who died before his birth, an event which founds his atheism: “It is incomprehensible that children are denied the right to live and continue to be unlivable.” On the dramas of his time, he sees himself “To arrive in an era which upsets him in a new way compared to other times”. A staunch opponent of the far right, a long-time companion of communism, now a friend of the Socialist Party, he supported François Hollande, to whom he “Pay very close attention”. He wonders : “He managed to become a chef” at the limit “. Isn’t it even more admirable? “ He gives his definition of the left: “Be constantly vigilant about our place in the world.” The engagement was born out of adolescence in the 1940s and the memory of Hitlerian vociferations on the radio. “I grew up in an extravagant, monstrous era, which fascinated me and worried me. Living without politics is lazy. “

There is a Piccoli mystery, which goes beyond human modesty. His unique place in European cinema, his virility which has always dodged machismo, the impression of having always known him as an adult – seen today, he knows his first main role with the public contempt at 38 – make the man intrigue. For the current spectator, he is the man of a cinema that has disappeared today. He is not moved, if not (logically) from a personal perspective: “Alas, given my age, most of the people who made up my movie family are missing today.”

This 87-year-old man does not only fascinate by his physical presence, nor by his glorious appearance, nor even by the pleasure taken by the journalist to interview a “legend”. If Piccoli impresses, it is because he has been able to operate an almost semantic shift. The actor became an author. Of certain films which he certainly made, but above all of a general corpus of roles, of an image of which he himself drew, painted, the features. When so many of his colleagues got caught up in the vanity of being beautiful objects, he worked to become a subject. He explains it, qualifies a film set of “Place where creators – screenwriter, machinist, editor, script or actor – meet where everyone has to produce something”.

His memory stumbles. He searches for proper names, lingers on a few words, including the charming one of “Difficult” that he repeats often. But it only takes a few seconds, a narrowing of the eyes, a vocal flight for Piccoli to become Piccoli again, an old sage and vagabond. And funniness trumps age, these years that are beginning “at bother and tease. “ He solves the problem by talking about Manoel de Oliveira, 104 years old: “Why not do like him and continue for years?”

He does not want to resign. Cinema, why not? But of life, no. Abandonment is the theme of Habemus Papam which he is asked, for the record, if he was amused by the similarities between the film and the resignation of Benedict XVI. He answers : “Ask this admirable filmmaker Moretti to become pope. And let the real pope make films, let him finally explain to us how to be happy. ” A sleight of hand, another one.

Michel Piccoli in 5 dates

December 27, 1925 Birth in Paris.

1944 Become an actor.

1963 Contempt.

From 1950 to the 2000s He has appeared in over 200 films.

Until October 4 Tribute to the Cinémathèque française.

Clement Ghys


Georgia Scalliet, quantum woman – Culture / Next

She is 30 years old, twelve white hair. Feels more detached right now. And suddenly backs up to the back of her chair, looking at her dangling arms as if a guy had just walked into the room and delivered her instantly. We are on the third floor of the Théâtre de la Colline. In an office all that is whiter, around a meeting table all that is smoother. The interview has not started for five minutes, but it is already the living illustration of this sentence from Botho Strauss: “No link, no position, no starting point. Nothing but excitability on the move. The crisis is permanent. ” Big dazzled eyes, solar inside, lunar around or vice versa. We must follow, the beauty is more rascal, the features infinitely more expressive than what the cold plastic of the photographs suggested. The kind of blue jeans, derby, “And shit, I had put on mascara” by rubbing the eyelashes. Almost no makeup, and she must have donned this pink sequin top at the last minute.

Georgia Scalliet is playing in the German playwright’s play, Time and the Chamber (1). She embodies, with hypnotic intensity, a multiplicity of women, chaining relationships of varying geometry, all in a prodigiously fragmentary form. Marie Steuber is less a character than a figure, the eternal woman, the freshness, even under beta blockers. Dizzying crossing from which it nevertheless emerges stronger, calmer, more stripped: “We immediately touch the unconscious with this writing. I felt very free. His words are so raw that it gave me great confidence in this primary energy that we all have in ourselves. ” For the director Alain Françon, the guardian angel who propelled her directly from the Ecole nationale supérieure des arts et techniques du théâtre (Ensatt) to the Comédie-Française by offering her the role of Irina in the Three Sisters, which earned her the Molière for young female talent in 2011, “In Georgia there is this very rare alliance between gravity and lightness. It is not a story of Brechtian distancing. This Marie Steuber, she totally embodies her, but she leads her as if she were in front of her ”. She is not a feminist in the militant sense, but insists that apart from Anne Kessler and Valeria Bruni Tedeschi, she has never been run only by men, even at the Ensatt. With the exception of Clément Hervieu-Léger and Alain Françon, “Who know how to read a woman with great finesse, you always have to fend for yourself with others so as not to fall into the cliché. We have the impression that they are completely helpless, or fearful, which makes the work much less rich ”.

On the other hand, it goes out of its hinges when it comes to maternity, her daughter Jane is 15 months old. She felt “Disqualified”, and had a very bad experience “Physical inequality”, from the moment she understood that her companion – an actor whose name she will not mention – was not going, like her, to have to give up many projects. Probably a very jealous person otherwise, but that’s a big difference, she talks about it with self-mockery. From the start, she willingly throws all her faults into the pasture. She claims to have a concentration of fish, not withholding anything and “You saw, I had to ask for directions to go to the bathroom, a real assisted person”. This is neither extravagance nor false modesty. She just has an expandable palette of intonations, and every time she answers a question she does, like children, all the characters at once. The air of nothing, it makes people around her, we do not enter like that in its perimeter. One of the finds of Time and the House, is that its construction is inspired by physics, in particular by Prigogine and his «structure dissipative». You wonder when her life started to look like that funny expression. “Oh ! small shocks “, like everyone, “Death, early …”.And to increase immediately : “It’s tragic, this adaptability of Marie Steuber. We believe that it is a force, whereas it is self-sacrifice. We’re losing fire. Result: the heart is dead, the girl is burst inside. “

This Burgundian grew up in Dijon. The father is a sales manager, the mother, an English teacher, is American, which gives him dual nationality. The conversation unexpectedly deviates on travel. “It’s my thing, I need it!” She takes on one of her most innocent looks, she has a thousand a second, smiles at the scarf she’s been fiddling with for a while and leaves a blank. Well, where was this great journey? “I went alone once. I had a burnout and I spent a month in an ashram in India. ” She comes back changed and her voice instantly returns to the bass. Why are the people who do his job so damaged? It no longer goes without saying, this total dedication, we must get out of this fascination with hotheads, be less passionate, “Good health is what it takes”. It remains a hard work. “You can repeat a scene forty times, it comes back again with the same energy”, says Laurent Stocker, frequent playing partner.

The section on the outside world is shorter. She ticks the box herself “European, average, spoiled, appalled, destitute”. Voted François Hollande in the last elections, has not yet decided anything for the next ones. Almost never reads newspapers, thinks it would take ten a day to really get an idea. Lives in the Xe, near the Saint-Martin canal. Is absolutely not up to date in its payslips, just knows that it has gone up to 3,400 euros, and that it is more than enough. Tastes of luxury concealed under her air of a tall, slightly gangly teenage girl seem unlikely. You have to go to her dressing room, where she opens a brochure full of quotes and her gray-gray box, so as to delay the photo shoot behind the big stage, she hates that. Go all the same gently, play the clown, the pear tree, talk to the little eye fixed on her, which turns it off, which closes it, “When there is a camera in the room, nothing is the same”. She bursts out laughing when offered to pose nude. A very long, very gentle laugh, a sort of overflowing generosity in the categorical refusal. Did anyone here really think she was going to get naked? Here she suddenly raises her head: “Although, at the point where I am.” And look vaguely in our direction: “You know, it’s like the scene where she says, ‘Anyway, where we’re at you and me!'” Of course, she remains in her position.

(1) Release January 27.

July 22, 1986 Born in Paris. 2011 Molière of young female talent. December 2016 Member of the Comédie-Française. February 3, 2017 Last of Time and the Chamber at the Théâtre de la Colline (ms Alain Françon).

Louise de Crisnay