We expected a lot, but not that this 35th Molières ceremony would begin with a fanfare cover (by the Paris Firefighters) of a medley of pop songs (Flowers by Miley Cyrus, Don’t start now by Dua Lipa…), which Caroline Vigneaux falls on. “With ease”, as she describes it. This year it is the former lawyer and comedian who is taking over Alexis Michalik’s presentation “Start-up Nation”. If the mission turns out to be tricky – the ceremony is often complicated by its length – it had already revealed the color when the nominees were announced: “Winners are warned they are prohibited from thanking their parents, their director, their producer or their cousin Paulette.” In addition, the sentence is harsh, because anyone who exceeds the prescribed minute of thanks is interrupted by Ernesto, a slightly cheesy lyrical singer. The motto: no “thank you”, but anecdotes.
Spread the word that the ceremony is dedicated to Bernard Pivot, who passed away this Monday, May 7th, and let the party begin: glitter, ribbons and various bows, whether in the dance or on stage during the thanksgiving – sorry, anecdotes. Caroline Vigneaux leads the dance of a show that is constantly interrupted by several occasions or messages that make fun of slipping through the cracks that are supposed to ensure the rhythm of the evening.
Every now and then Pique against Rachida Dati (special mention of the reference to her threat to turn Gabriel Attal’s dog into a kebab), remarks about the lack of diversity among the nominees or reminders of the spectacular budget cuts that have been made this year for culture… Sophia Aram were announced, rewarded for the show the world after, speaks to the audience : “If we all call for a ceasefire here, how can we show solidarity with the thousands of civilian deaths in Gaza without also showing solidarity with the Israeli victims? CHow can we demand a ceasefire from Israel without demanding the release of Israeli hostages? How can we call for Netanyahu to leave without calling for Hamas to leave?
Contrary to the wishes of the master of ceremonies, the ceremony sometimes exudes a slight hint of mustiness during Anne Roumanoff’s speech about the excesses of social networks. What is worrying is that before Bruno Solo’s speech, Caroline Vigneaux insists: “Are you sure you have no business doing this? […] It’s rare !” The #MeToo theme returns later in a clip that shows a montage of multiple photos of actors and actresses with a single message “You are not alone,” This is immediately followed by a musical number by Mathilde in which she calls for women’s freedom to control their bodies. A bit contradictory to the words of Elsa Zylberstein, who claims this “Modeling clay” from its director in front of Tiago Rodrigues, who fortunately answered the question from Caroline Vigneaux.
Crowned with seven nominations, zucchini by Paméla Ravassard and Garlan Le Martelot leaves with just one trophy 4,211 km – whose director Aïla Navidi calls for the release of Toomaj Salehi, the Iranian rapper sentenced to death for a song -, et Society of Dead Poets both end the evening with two statuettes. The adaptation of the cult melodrama, in which Robin Williams shone, sold out at the Théâtre Antoine and was nominated six times. On the public side, the happy and carnival-like 40° below zero of the Munstrum Theater also won two Molières.
Price list
Molière from the private theater: 4,211 km by and directed by Aïla Navidi
Molière from the public theater: 40° below zero by Copi, directed by Louis Arene
Molière of comedy: It’s not easy to be happy when you’re feeling bad by Rudy Milstein, directed by Rudy Milstein and Nicolas Lumbreras
Molière of image and sound design: SnowScenography Emmanuelle Roy, set design Emmanuelle Roy, costumes Alice Touvet, lighting Jean-Luc Chanonat, (design and direction: Pauline Bureau)
Molière from the musical show: Spam by Éric Idle, directed by Pierre-François Martin-Laval
Molière of humor: Sophia Aram in the world after by Sophia Aram and Benoît Cambillard (directors: Sophia Aram and Benoît Cambillard)
Molière from Young Audiences: Snow by and directed by Pauline Bureau
Molière du Seul. and on stage: Will love it! with and by Eva Rami
Molière’s production in a public theater performance: Louis Arena for 40° below zero from children
Molière from the production in a private theater performance: Olivier Solivérès for Society of Dead Poets (adapted by Gérald Sibleyras)
Molière by the author. living French-speaking woman: Rudy Milstein pours It’s not easy to be happy when you’re feeling bad
Molière from the Comédienne in a public theater performance: Vanessa Cailhol in zucchini by Paméla Ravassard and Garlan Le Martelot (director: Paméla Ravassard)
Molière by the comedian in a public theater performance: Micha Lescot in Richard II by William Shakespeare (director: Christophe Rauck)
Molière from the Comédienne in a private theater performance: Cristiana Reali in A tram named Desire by Tennessee Williams (Director: Pauline Susini)
Molière from the Comedien in a private theater performance: Vincent Dedienne in An Italian straw hat by Eugène Labiche (director: Alain Françon)
Molière the actress in a supporting role: Jeanne Arenes in the mirror effect by Léonore Confino (director: Julien Boisselier)
Molière from the comedian in a supporting role: Guillaume Bouchède in My name is Asher Lev by Aaron Posner (directed by Hannah-Jazz Mertens)
Molière of female revelation: Olivia Pavlou Graham in 4,211 km (by and directed by Aïla Navidi)
Molière of male revelation: Ethan Oliel in Society of Dead Poets (Director: Olivier Solivérès)
Honorary member Molière: Francis Huster
