(via Deadline)

Best Picture
Farewell, My Queen
Camille Redouble
In The House
Rust & Bone
Holy Motors
What’s In A Name

Best Director
Benoît Jacquot, Farewell, My Queen
Michael Haneke, Amour
Noémie Lvovsky, Camille Redouble
François Ozon, In The House
Jacques Audiard, Rust & Bone
Leos Carax, Holy Motors
Stéphane Brizé, Quelques Heures De Printemps

Best Actress
Catherine Frot, Les Sauveurs Du Palais
Marion Cotillard, Rust & Bone
Noémie Lvovsky, Camille Redouble
Corinne Masiero, Louise Wimmer
Emmanuelle Riva, Amour
Léa Seydoux, Farewell, My Queen
Hélène Vincent, Quelques Heures De Printemps

Best Actor
Jean-Pierre Bacri, Cherchez Hortense
Patrick Bruel, What’s In A Name
Denis Lavant, Holy Motors
Vincent Lindon, Quelques Heures De Printemps
Fabrice Luchini, In The House
Jérémie Rénier, Cloclo
Jean-Louis Trintignant, Amour

Best Supporting Actress
Valérie Benguigui, What’s In A Name
Judith Chemla, Camille Redouble
Isabelle Huppert, Amour
Yolande Moreau, Camille Redouble
Edith Scob, Holy Motors

Best Supporting Actor
Samir Guesmi, Camille Redouble
Michel Vuillermoz, Camille Redouble
Benoit Magimel, Cloclo
Claude Rich, Cherchez Hortense
Guillaume de Tonquedec, What’s In A Name

Newcomer (Female)
Alice de Lencquesaing, Au Galop
Lola Dewaere, Mince Alors!
Julia Faure, Camille Redouble
India Hair, Camille Redouble
Izia Higelin, Mauvaise Fille

Necomer (Male)
Félix Moati, Télé Gaucho
Kacey Mottet Klein, Sister
Pierre Niney, Comme Des Frères
Matthias Schoenaerts, Rust & Bone
Ernst Umhauer, In The House

Best Original Screenplay
Bruno Podalydès, Denis Podalydès, Adieu Berthe – L’Enterrement De Mémé
Michael Haneke, Amour
Noémie Lvovsky, Maud Ameline, Pierre-Olivier Mattei, Florence Seyvos, Camille Redouble
Leos Carax, Holy Motors
Florence Vignon, Stéphane Brizé, Quelques Heures De Printemps

Best Adapted Screenplay
Lucas Belvaux, 38 Witnesses
Gilles Taurand, Benoît Jacquot, Farewell, My Queen
François Ozon, In The House
Jacques Audiard, Thomas Bidegain, Rust & Bone
Matthieu Delaporte, Alexandre de la Patellière, What’s In A Name

Best Costumes
Christian Gasc, Farewell, My Queen
Pascale Chavanne, Augustine
Madeline Fontaine, Camille Redouble
Mimi Lempicka, Cloclo
Charlotte David, Populaire

Best Art Direction
Katia Wyszkop, Farewell, My Queen
Jean-Vincent Puzos, Amour
Philippe Chiffre, Cloclo
Florian Sanson, Holy Motors
Sylvie Olivé, Populaire

Best Animated Film
Edmond Etait Un Ane, Franck Dion
Ernest Et Célestine, Benjamin Renner, Vincent Patar, Stéphane Aubier
Kirikou Et Les Hommes Et Les Femmes, Michele Ocelot
Oh Willy, Emma De Swaef, Marc Roels
Zarafa, Rémi Besançon, Jean-Christophe Lie

Best First Film
Augustine, Alice Winocour
Comme Des Frères, Hugo Gélin
Louise Wimmer, Cyril Mennegun
Populaire, Régis Rosnard
Rengaine, Rachid Djaidani

Best Documentary
Bovines Ou La Vraie Vie Des Vaches, Emmanuel Gras
Duch, Le Maître Des Forges De L’Enfer, Rithy Panh
Les Invisibles, Sébastien Lifshitz
Journal De France, Claudine Nougaret, Raymond Depardon
Les Nouveaux Chiens De Garde, Gilles Balbastre, Yannick Kergoat

Best Original Score
Bruno Coulais, Farewell, My Queen
Gaëtan Roussel, Joseph Dahan, Camille Redouble
Philippe Rombi, In The House
Alexandre Desplat, Rust & Bone
Rob, Emmanuel D’Orlando, Populaire

Best Short Film
Ce N’est Pas Un Film De Cow-Boys, Benjamin Parent
Ce Qu’il Restera De Nous, Vincent Macaigne
Le Cri Du Homard, Nicolas Guiot
Les Meutes, Manuel Schapira
La Vie Parisienne, Viencent Dietschy

Best Cinematography
Romain Winding, Farewell, My Queen
Darius Khondji, Amour
Stéphane Fontaine, Rust & Bone
Caroline Champetier, Holy Motors
Guillaume Schiffman, Populaire

Best Editing
Luc Barnier, Farewell, My Queen
Monika Willi, Amour
Annette Dutertre, Michel Klochendler, Camille Redouble
Juliette Welfling, Rust & Bone
Nelly Quettier, Holy Motors

Best Sound
Brigitte Tallandier, Fançis Wargnier, Olivier Goinard, Farewell, My Queen
Guillaume Sciama, Nadine Muse, Jean-Pierre Laforce, Amour
Antoine Deflandre, Germaine Boulay, Eric Tisserand, Cloclo
Brigitte Tallandier, Pascal Villard, Jean-Paul Hurier, Rust & Bone
Erwan Kerzanet, Josefa Rodriguez, Emmanuel Croset, Holy Motors

Best Foreign Film
Laurence Anyways
Oslo, 31 August
The Angels’ Share
A Royal Affair
A Perdre La Raison


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  • blue-is-the-warmest-color-lea-seydoux-2

    Cesar Award nominations

    Best Film 9 Month Stretch Me, Myself and Mum Stranger at the Lake Jimmy P. The Past Venus …
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  • Putain s’il te plait

    Ou le fuque est Matthias Schoenaerts?

  • @paddy
    newcomer (male)

    also, have you read Michael Moore’s piece in defense of ZD30 on deadline? it’s pretty strong, almost makes me want to watch the movie again, even though I didn’t like it… couldn’t see much during the last part.

  • BlueFox94

    “ARGO” for Best Foreign Film!!!

  • Zach

    Good for Rust & Bone. But how is Matthias Schoenaerts a newcomer?

  • Bryce Forestieri

    Wait. Where’s LES MIZ?!

    Wasn’t that in France or something french?

  • “ARGO” for Best Foreign Film!!!


  • Bryce Forestieri

    WTF no Matthias Schoenaerts in Best Actor?! Fucking joke seriously.

    How is he a newcomer? wasn’t he in an Oscar nominated film last year?

  • filmboymichael

    @Christophe – thanks for the heads up – fantastic article.

    In Defense of Zero Dark Thirty

    There comes a point about two-thirds of the way through ‘Zero Dark Thirty’ where it is clear something, or someone, on high has changed. The mood at the CIA has shifted, become subdued. It appears that the torture-approving guy who’s been president for the past eight years seems to be, well, gone. And, just as a fish rots from the head down, the stench also seems to be gone. Word then comes down that – get this! – we can’t torture any more! The CIA agents seem a bit disgruntled and dumbfounded. I mean, torture has worked soooo well these past eight years! Why can’t we torture any more???

    The answer is provided on a TV screen in the background where you see a black man (who apparently is the new president) and he’s saying, in plain English, that America’s torturing days are over, done, finished. There’s an “aw, shit” look on their faces and then some new boss comes into the meeting room, slams his fist on the table and says, essentially, you’ve had eight years to find bin Laden – and all you’ve got to show for it are a bunch of photos of naked Arab men peeing on themselves and wearing dog collars and black hoods. Well, he shouts, those days are over! There’s no secret group up on the top floor looking for bin Laden, you’re it, and goddammit do your job and find him.

    He is there to put the fear of God in them, probably because his boss, the new President, has (as we can presume) on his first day in office, ordered that bin Laden be found and killed. Unlike his frat boy predecessor who had little interest in finding bin Laden (even to the point of joking that “I really just don’t spend that much time on him”), this new president was not an imbecile and all about business. Go find bin Laden – and don’t use torture. Torture is morally wrong. Torture is the coward’s way. C’mon – we’re smart, we’re the USA, and you’re telling me we can’t find a six-and-a-half-foot tall Saudi who’s got a $25 million bounty on his head? Use your brains (like I do) and, goddammit, get to work!

    And then, as the movie shows, the CIA abruptly shifts from torture porn to – are you sitting down? – *detective work.* Like cops do to find killers. Bin Laden was a killer – a mass killer – not a general of an army of soldiers, or the head of a country call Terrorstan. He was a crazed religious fanatic, a multi-millionaire, and a punk who was part of the anti-Soviet mujahideen whom we trained, armed and funded in Afghanistan back in the ’80s. But he was a godsend and a very useful tool to the Dick Cheneys and Don Rumsfields of the world. They could hold him up to a frightened American public and scare the bejesus out of everyone – and everyone (well, most everyone) would then get behind the effort to declare war on, um … well … Who exactly do we declare war against? Oh, right – Terrorism!
    · The War on Terrorism! So skilled were the men from Halliburton, et al. that they convinced the Congress and the public to go to war against a noun. Terrorism. People fell for it, and these rich men and their friends made billions of dollars from “contracting” and armaments and a Burger King on every Iraqi base. Billions more were made creating a massive internal spying apparatus called “Homeland Security.” Business was very, very good, and as long as the boogieman (Osama) was alive, the citizenry would not complain one bit.

    I think you know what happens next. In the final third of ‘Zero Dark Thirty,’ the agents switch from torture to detective work – and guess what happens? We find bin Laden! Eight years of torture – no bin Laden. Two years of detective work – boom! Bin Laden!

    And that really should be the main takeaway from ‘Zero Dark Thirty’: That good detective work can bring fruitful results – and that torture is wrong.

    Much of the discussion and controversy around the film has centered on the belief that the movie shows, or is trying to say, that torture works. They torture a guy for years and finally, while having a friendly lunch with him one day, they ask him if he would tell them the name of bin Laden’s courier. Either that, or go back and be tortured some more. He says he doesn’t know the guy but he knows his fake name and he gives them that name. The name turns out to be correct. Torture works!

    But then we learn a piece of news: The CIA has had the name of this guy all along! For ten years! And how did they get this name ten years ago? From “a tip.” A random tip! No torture involved. But, as was the rule during those years of incompetency and no desire to find bin Laden, the tip was filed away somewhere in some room – and not discovered until 2010. So, instead of torturing hundreds for eight years to find this important morsel of intelligence, they could have found it in their own CIA file cabinet in about eight minutes. Yeah, torture works.

    In the movie, after they have the name of the courier, they then believe if they find him, they find bin Laden. So how do they find him? They bribe a Kuwaiti informant with a new car. That’s right, they find the number of the courier’s family by giving the guy a Lamborghini. And what do they do when they find the courier’s mother? Do they kidnap and torture her to find out where her son is? Nope, they just listen in on his weekly call home to Mom, and through that, they trace him to Pakistan and then hire a bunch of undercover Pakistani Joe Fridays to follow this guy’s every move – which, then, leads them to the infamous compound in Abbottabad where the Saudi punk has holed up.

    Nice police work, boys!

    Oh – and girl. ‘Zero Dark Thirty’ – a movie made by a woman (Kathryn Bigelow), produced by a woman (Megan Ellison), distributed by a woman (Amy Pascal, the co-chairman of Sony Pictures), and starring a woman (Jessica Chastain) is really about how an agency of mostly men are dismissive of a woman who is on the right path to finding bin Laden. Yes, guys, this is a movie about how we don’t listen to women, how hard it is for them to have their voice heard even in these enlightened times. You could say this is a 21st century chick flick – and it would do you well to see it.

    But back to the controversy and the torture. I guess where I part with most of my friends who are upset at this film is that they are allowing the wrong debate to take place. You should NEVER engage in a debate where the other side defines the terms of the debate – namely, in this case, to debate “whether torture works.” You should refuse to participate in that discussion because the real question should be, simply, “is torture wrong?” And, after watching the brutal behavior of CIA agents for the first 45 minutes of the film, I can’t believe anyone of conscience would conclude anything other than that this is morally NOT right. You will be repulsed by these torture scenes because, make no mistake about it, this has been done in your name and mine and with our tax dollars. We funded this.

    If you allow the question to be “did torture work?” then you’ll lose because yes, if you torture someone who actually has the information, they will eventually give it to you. The problem is, the other 99 who don’t know anything will also tell you anything to get you to stop torturing – but their information is wrong. How do you know which one of the 100 is the man with the goods? You don’t.

    But let’s grant the other side that maybe, occasionally, torture “works”. Here’s what else will work: castrating pedophiles. Why don’t we do that? Probably because we think it’s morally wrong. The death penalty sure works. Put a murderer in a gas chamber and I can guarantee you he’ll never murder again. But is it right? Do we accomplish the ends we seek by becoming the murderers ourselves? That should be our only question.

    After I saw ‘Zero Dark Thirty,’ a friend asked me, “During the torture scenes, who did you feel empathy for the most – the American torturer or the Arab suspect?” That was easy to answer. “Oh, God, the poor guy being waterboarded. The torturer was a sadist.”

    “Yes, that’s the answer everyone gives me afterward. The movie actually makes you care for the tortured guys who may have, in fact, been part of 9/11. Like rooting for the Germans on the submarine to make it back to port in ‘Das Boot,’ that’s the sign of some great filmmaking when the writer and director are able to get you to empathize with the person you’ve been told everywhere else to hate.”

    ‘Zero Dark Thirty’ is a disturbing, fantastically-made movie. It will make you hate torture. And it will make you happy you voted for a man who stopped all that barbarity – and who asked that the people over at Langley, like him, use their brains.

    And that’s what worked.

    P.S. One final thought. I’ve heard fellow lefties say that even if the filmmakers didn’t intend to endorse torture (Bigelow called torture “reprehensible” on Colbert the other night), the average person watching the movie is going to take it the wrong way. I believe it is the responsibility of the filmmaker attempting to communicate something that they do so clearly and skillfully (and you can decide for yourself if Bigelow and Boal did so. For me, they did.). But I never blame the artist for failing to dumb down their work so that the lesser minds among us “get it.” Should Springsteen not have named his album ‘Born in the USA’ because some took it to be as a salute to patriotism (Reagan wanted to use it in his 1984 reelection campaign but Bruce said no)?

  • Bryce Forestieri

    Is AMOUR or RUST AND BONE the one with more nominations?

  • Bryce Forestieri


    Although I’m curious about everything but how the fuck is that relevant in this thread??

    I mean what the fuck you need be smacked across the face you film boy punk.

  • I think Amour has 10 nominations. 9 for Rust & Bone. 9 for Holy Motors.

    Hope that’s right. Because that’s what I tweeted a couple hours ago

  • @bryce
    no, it’s Camille Redouble with 13 noms but it has multiple noms in acting categories.

  • Bryce Forestieri



  • filmboymichael

    @bryce forestieri,

    not the first person to make a comment in an unrelated thread – won’t be the last.
    deal with it.

  • plus it was my fault that i brought up the subject in the first place… so apologies to filmboy for getting you into trouble, apologies to bryce for ruining your day and apologies to ryan for hijacking your thread.

  • Jamie

    Matthias Schoenaerts is a Belgian actor and I don’t know how many actual French films he’s made, so maybe that accounts for him being a “newcomer” as far as the Cesar awards. I also believe if he gets more votes in the newcomer category and gets a nomination, it prevents him from being nominated in the Actor category. The last bit I don’t know for sure, though. But at least he was acknowledged.

  • @jamie
    plus now matthias whateverhisname is almost a lock for the win, whereas if he had competed for best actor he would have been up against denis lavant for holy motors.

  • Well, he’s in good company in Newcomer (Male) with Kacey Mottet Klein, who’s so good in Sister. I haven’t seen Farewell, My Queen, but I wonder if Lea Seydoux is actually better in that than she too is in Sister. I doubt it. More popular film gets acknowledged as usual!

  • Bryce Forestieri

    Boy, just saying…

    Plus, isn’t it appropriate to provide the link to articles and not just paste them entirely?

  • Really cool how you guys know about movies that aren’t Oscar nominees. How did you even see the title of that Camille Redouble movie? Do I need to get some special glasses?

  • petros

    schoenaerts is also lead in bullhead, nom’d for foreign this year although a 2011 belgian film, so this is newcomer for french awards. btw i think France has two of the 10(to say the least) best films this year, holy motors and amour

  • kathy

    ah, lost in translation? the”newcomer” is not an award for the actor/actress who just made his/her first movie ever, more like”the most promising young actor/actress“ or”breakout performance”
    I say this because vincent cassel was nominated for la haine and that’s definitely NOT his first movie, mathieu kasovitz won for regarde les hommes tomber and that’s not his debut movie either

  • Elton Almeida

    Their foreign language line up is very wise. “Oslo, 31 August” <3

  • Ryan, I’d never heard abt Camille Redouble before the announcement, but I heard abt it on French TV when they commented the noms. It looks mildly funny but not very outstanding, I doubt it’s a necessary watch. 7 of its 13 noms are for acting, but it’s going to be very hard to translate this record number into wins. I guess it is in the same position as SLP in the Oscar race.

  • JamDenTel

    Holy Motors should win every category it was nominated for. Amour can take the rest, and whatever’s left, cage-match it out.

  • Deniz

    Rust & Bone was such a great film. It was much better than Les Miserables or Django. And Marion Cotillard was also better than Lawrence, Wallis or even Chastain. That film got snubbed hardcore and I just can’t get over it.

  • The Japanese Viewer

    I haven’t seen Camille yet but matter-of-factly it reminds me of Peggy in some way. Granted time travel in films is commonplace […] enough, not to mention no high-school reunion but a reveillon-dinner instead in this French realisation par L’Lvovskie herself and in one manner or another, French artists are creative, etc., so I believe it’s just a coincidence. Just saying.

  • John

    Perfect place for me to say this:
    Having just seen ‘Amour’ (loved the performances, the movie as a whole, a bit less so) …
    I don’t see how most of the Academy can watch this movie and not check off Emmanelle Riva as the winner for Best Actress.
    I thought she was amazing; something I wouldn’t say about Chastain (though I love her and she’s good in the role), Watts (ditto), or certainly Lawrence (who was absolutely fine).
    Or, does Harvey really have that much pull to get Lawrence the win? Is there too much goodwill/respect towards Chastain to stop that potential win?
    Campaigns be damned, if most of those voters watch ‘Amour’ and vote with their HEARTS, I’d think the winner might be Riva on Oscar night, no? That’s what I’m thinkin’ right now.

  • John

    And I know she’s not a 20 or 30-something starlet, and she’s French (foreign).
    Typical Best Actress winners are in their 20/30s and from US/England.
    But I really wonder if she could pull it off.

  • John

    Deniz, I agree. Rust & Bone really affected me. I somehow wished for a stronger ending. But I just loved the interesting storyline and the performances. Both Schoenaerts and Cotillard make my Top 5.

  • steve50

    What a field day for Matthias Schoenaerts! Both Bullhead and R&B with mentions. I’m glad he’s not competing with Lavant so both can be assured of a win.

    Haven’t seen most of these, but it appears to be a race between Holy Motors and Amour (duh, steve). Talk about contrast.

  • Kevin Landry

    Really glad to see Holy Motors got so much love. It truly deserves (at the very least) best actor and best screenplay! The rest is a war with Amour (though Amour will most likely take best director).

    Also, Le Prénom?! Really?! The movie was overwhelmingly panned by the critics both here in Quebec and back in France. This is pretty much the equivalent of The Tourist being nominated for Best Comedy/Musical at the Golden Globes…

  • Zooey

    LE PRENOM is your typical Cesar nominee.

    AMOUR will most likely take picture, directing, actor, actress and original screenplay.

    Lavant will lose. He’ll be up against one of the biggest French legends and Trintignant has 4 nominations and no wins.

  • steve50

    Trintignant has never won a Cesar!? He’s been great since the late 60s.

    And I thought we were the only ones who ignored the best and went for the shiniest.

    Should be his, then.

  • Alex Brando


    Seriously, too bad Les Cesars have no makeup category, the award there would have been obvious..

  • Lucky

    Wow, how big is the cast of Camille Redouble?

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