Camille Cotin. “My first time in Cannes, they didn’t wait for us anywhere, but they tried to sneak in everywhere.”

“Dizziness.” This word is heard every year in the words of the host or hostess of the Cannes Film Festival. For this 77^e edition, at the invitation of the chief delegate, Thierry Fremaux, is Camille Cotin, who will start in front of an audience of influential figures of world cinema. It is wise to choose him. Recognized in France by the public as well as by filmmakers (we expect her from Emmanuel Mouret, Pierre Scholler and Simone Mutairu), the actress is also recognized abroad thanks to the international success of the series. Ten percent and his Hollywood forays (Stillwater, Home of Gucci, Mystery in Venice…). A few days before the opening of the festival, he shares his memories of Cannes and his opinion about the challenges of cinema today.

Madame Figaro. – What was your opinion of Cannes before going there?
Camille Cotin: For the first time, that enchanting image reached me. the marches, the stars… As I grew up, I grasped all its cinematic, multicultural and political richness. I went to see Palme d’Or in theaters, and many became the walls of support for my cinephilia; Taxi Driver, Apocalypse Now, Paris, Texas, Sailor and Lula, Piano Lesson, Farewell My Concubine, Pulp Fiction, Me, Daniel Blake, Adele’s Life, Parasite, Anatomy. Paris, Texas was my stepfather’s favorite movie, but when I was little I wasn’t allowed to see it because he thought it was too sad. This reinforced the mystery of the film, which was already marked by a very strong performance of Nastasya Kinski in her pink mohair sweater…

And your first time at the festival ?
It was with my friend Camille Chamou. We were not expected anywhere, but we tried to sneak in everywhere. It was very happy. That year, after a sleepless night, I also remember seeing love, by Michael Haneke, that left me speechless. In 2019, I climbed the stairs for the first time with Christophe Honoré Room 212, and I went back there two years later natural water, By Tom McCarthy. I was very tense, but I was lucky to be “godmothered” by Marion Cotillard with great tenderness and generosity. It’s dizzying to be a part of this cinematic mythology, even for a star like Matt Damon. I remember him crying with emotion after the screening.

If you had to define Cannes in a few words…
This 77’s poster^e edition that depicts Rhapsody in August By Kurosawa, it does it better than me. Although this film tells the story of the specter of the atomic bomb dropped on Nagasaki, this image conveys a certain idea of ​​unity and hope that perfectly sums up the poetic and therapeutic virtues of cinema. We need it today. The world is going through hard times, but art brings light into the chaos. And then, this poster of people looking in the same direction is a beautiful symbol of the meeting of international film lovers that the Cannes Film Festival represents.

The film year was marked by various speeches on sexual and gender violence. How did you receive them?
I have a feeling that my hearing has improved. Judith Godrech’s words had such an impact that they made it possible to pass legislation. I also hope that this will also apply to the preparatory phase, which may contain risks hidden from view… We must hope that this is the first step towards the end of impunity.

I went to see Palme d’Or in theaters, many of which became the cornerstones of my cinephilia;

Camille Coty

Have you noticed an evolution in the portrayal of the female character since you started?
There are a few signs of progress: Palme d’Ors to Julia Ducourneau and Justine Trier., The strength of roles offered to actresses over 50, such as Michelle Yeoh in the US or Anouk Greenberg in France. And the positive reaction of the public shows the need to move the lines. Recently, Audrey Dewan did me the honor of showing her around Emmanuel, carried by Noemi Merlant, a very political film about a woman who reclaims her pleasure. Ten years ago, we probably would never have seen this film… All these artists are taking women out of shackles.

Men accompany them in this process…
Indeed, and this is essential. the struggle cannot be won by depriving half of the population. When Nathan Ambrosioni proposed to me with Tony’s family, I was very moved by her deconstructed view of femininity and motherhood… I am also moved when I see the films of Christophe Honore, a director who appreciates women in all their complexity. I can’t wait to discover it in Cannes Marcello Mio, in which he again directs Kiara Mastroian.

What are your acting projects?
This summer I am going to Armenia to shoot Tamara Stepanyan’s film with Zar Amir Ebrahimi, winner of the Cannes acting award. Nights of Mashhad. I also make a piece that is adapted from Jewish rooster By Katarina Volkmer, directed by Jonathan Capdeville. We will be playing at the Theater du Jeu de Paume in Aix-en-Provence in October, Bouffes du Nord in Paris in January. I used to do a lot of theater Donkey but I was never alone on stage. It’s a new challenge, but I fell in love with this text about freedom, gender, the enslavement of our bodies, German guilt two generations after the Holocaust… I was fascinated by how the author explores the question of emancipation through culture and culture. historical heritage…

Judith Godresh’s words have caused such a reaction that we should hope that this is the first step towards the end of impunity.

Camille Coty

And what about the movie? Ten percent ?
It’s still in the pipeline, but it’s a big ship. You have to find the right time to bring everyone together.

The opening and closing ceremonies of the Cannes Film Festival on May 14 and 25 will be broadcast live on France 2.