French cinema, Clara Luciani, Benjamin Biolay was not spared by Roselyne Bachelot in her book “682 Days”
It’s time for reckoning Roselyne Bachelot. In the display book under the title 682 days, looks back on those years in the Ministry of Culturenot crossed health crisis. And she uses the opportunity to strike hard, denouncing “arrogant snobbery”, “clientelistic fortresses” or even “well-intentioned”. In this book published by Plon, the predecessor Rima Abdul-Malak especially refers to major aid granted to the cultural sector during restrictions and other restrictions and about the policies it may have implemented from July 2020 to May 2022.
The minister is particularly angry with certain artists, the “richest”, considering that they showed ingratitude by criticizing the actions of the state, while the sector, which was at a standstill, was kept on financial infusion. Among them: “sourness” and “bitterness” of the singer Clara Lucianiwho joked about Roselyne Bachelot’s supposed “vacations” in August 2020 or about the singer-songwriter’s “disparaging remarks” Benjamin Biolay, while he is not one of those who “complain the most about the system”. “You put me on dry bread! “, will launch it publicly. “In any case, his toast was well buttered on both sides,” the former minister replies today.
“During this entire crisis, I was amazed by the double talk of this environment. When we went to greet the artists in their dressing room, the expressions of gratitude were constant. On the other hand, aggressiveness and victimization are distributed on television and radio,” she summarizes today.
French cinematography in the sights of Bachelot
The sharpest attacks were directed at French cinema, after the evening Caesars 2021 where misplaced humor, between itself and the criticism of the artist, created discomfort. “We could have expected from the world of cinema, filled with public money, in the absence of recognition – let’s not ask for the impossible! – at least a short and polite greeting to the state representative during this demonstration. (…) The famous “cultural exception” really allows many French films to “not find their audience”, as we modestly say, or, more explicitly, to fail”, attacks Roselyne Bachelot.
“The system also allows the actors at the head of the casting to receive sky-high fees three or four times higher than the fees of actors in American independent films,” she adds. “Direct subsidies, bill advances, tax exemptions, interruptions have created a subsidized economy that not only doesn’t care much about the tastes of viewers, but shows contempt for mainstream and profitable films. Give it to Caesar Danny Boon and its more than 20 million entries for Welcome to Ch’tis, phew! “, she jokes.