Here are seven women who conquered French cinema in 2022

Five years ago, on October 5, 2017, the New York Times published an investigation by journalists Jodi Kantor and Megan Twohey into allegations of sexual harassment against hitherto untouchable Hollywood producer Harvey Weinstein. On October 15, a tweet from actress Alyssa Milano ended up lighting the fuse on social networks. The floodgates of the #MeToo movement have just opened. While we are currently celebrating the five years of the #MeToo explosion, Le Film français, a benchmark newspaper in the film industry, published its number 4040 last week. On the cover, seven white men, with the title and in capital letters: “Objective: Reconquest!” Alongside Jérôme Seydoux, billionaire boss of Pathé, well-known and recognized French actors and directors Pio Marmaï, Vincent Cassel, François Civil, Pierre Niney and Dany Boon. Faced with the legitimate outcry on social networks, the newspaper apologized. While Julia Ducournau, Audrey Diwan, Jane Campion and Carla Simón successively won Palme d’or, Lion d’or, Oscar for Best Director and Ours d or the most prestigious awards in cinema, how is such a mistake still possible? Whether through their original works or their performance, here are seven women who won us over in 2022.2021, the year of the coronation of women in cinemaLaure CalamyNavigating in the ecosystem of French cinema for more than twenty years, Laure Calamy hit the mark in many notable supporting roles. Revealed in 2015 by her role as an emotional and determined assistant in Ten percent, French cinema finally opened its arms wide to her. In 2021, she won the Orizzonti Prize for Best Actress at the Venice Film Festival 2021 for Éric Gravel’s gripping film Full Time and the César for Best Actress for the great public and critical success Antoinette in the Cévennes. 2022, she will star in Annie Colère, in which she fights for the right to abortion by getting involved in the field, and the thriller L’Origine du mal, where she definitely does not have her the same to embody fake candids who flirt with madness.Alice DiopRegularly rewarded, Alice Diop is a big name in French cinema. In 2016, she documented the love life of suburban youth in Vers la tendresse, which received the César for Best Short Film, and more recently, she filmed RER B travelers in Nous, a documentary that won two awards at the Berlinale. This year, repeat. While the talented French filmmaker was trying her hand at fiction for the first time with Saint Omer, a film about motherhood inspired by a news item, she won the winning double at the Venice Film Festival with the Grand Jury Prize and the prize for the first film. Consecration, it is also his film that the CNC has chosen to send to compete for the Oscars next March. It now remains to be seen whether she will succeed in being one of the five finalists present at the Dolby Theater.Here are the 10 women who have marked the cinema in 2020 French actress. Mistress of ceremonies at the Cannes Film Festival in 2022, she also starred in four films: Waiting for Bojangles, Don Juan, Revoir Paris and Les Enfants des autres. But it is in the latter that she is particularly illustrated. She is imperial in the role of Rachel, a 40-year-old French teacher without children who falls in love with Ali, divorced and father of a little girl. 4-year-old girl, in a universal experience but whose representation is filmed with rare subtlety and emotion. With this new film and after two fruitful collaborations with Justine Triet, Virginie Efira proves that she knows how to carefully choose the directors with whom to associate.Charlotte Le BonSi Falcon Lake, her first film as a director, is not yet Released in theatres, it was presented at the Directors’ Fortnight in Cannes and won the Ornano-Valenti prize at the Deauville Festival. And it is certain that Charlotte Le Bon will mark the year thanks to this more than successful first attempt. For this trial run, the Quebec director did not choose the easy way and adapts the subversive and sensual comic strip A Sister, by Bastien Vivès, to tell the story of the family holidays of Antoine (Bastien in the film), 13, and his sexual awakening by Hélène (Chloé in the film), 16, the daughter of the couple of friends of his parents. But thanks to the delicacy and modesty with which she films adolescent sexual awakening, she delivers a modest teen movie bordering on fantasy and, above all, a very pretty story of love and ghosts.Review: Falcon Lake, the first film by Charlotte Le Bon, really everything is good Léa MysiusIf the 33-year-old director has already contributed her pen to the screenplays of the greatest (we are thinking here in particular of Jacques Audiard’s Olympiads), this year in Cannes, she confirmed that she is a talent of French cinema to watch closely. With Les Cinq Diables, her second feature film, she films Vicky, a little girl with an overdeveloped sense of smell, transported by smells to her mother’s past. The director mixes naturalism and fantasy to question the weight of family secrets that are transmitted to the following generations. After Ava, Léa Mysius continues to deploy her own universe, a universe of fantastic tales that takes root in the five senses the four elements and populated by enigmatic children. In Cannes, Léa Mysius confirms that she is a talent of French cinema to watch closelyAnaïs VolpéWith Between the Waves, an incisive and energetic debut film, Anaïs Volpé has established herself as a promising director to dust off French cinema. She films two energetic actresses there, Souheila Yacoub (powerful in Climax or Les Sauvages) and Déborah Lukumuena (the star of Divines), who play two friends in theater school. When one is chosen to interpret the main role of a play, the other is called upon to act as a stand-in. Here, Anaïs Volpé directs a powerful story of friendship inhabited by her actresses, who sweat with ardour. A filmmaker to follow closely. Rebecca Zlotowski In 2022, the gifted French director returns with a fifth feature film, the most successful and the most sensitive of all. And once again, she films there a feminine trajectory that comes out of the frames with a subtlety and a rare emotion. Without shouting and without anger, avoiding the conflicts inherent in stories of separations or recomposed families, she offers us a soft and nuanced film. questions the notion of family, maternal desire and the cruelty of time which passes at two speeds for men and women.