Tout Public begins by paying tribute to the Spanish actress Marisa Paredes, muse of Pedro Almodovar, who died at the age of 78. Thierry Fiorile retraces his journey, from his birth in a working-class family to his roles in Almodovar’s films, including that of Becky in Stiletto Heels in 1991.
The report from the Court of Auditors on the Culture Pass has been released: 244 million annual budget, with 84% of young people aged 18 having activated their pass, but only 68% of popular categories. The democratization of culture is therefore not there, with the purchase of books coming first, with Fnac as the first beneficiary, followed by cinema and music, with still 16 million euros having been used to finance entries for escape games, and finally, only 1% of reservations devoted to live shows. An expense that is far too high compared to the expected effects of the pass, which aims to open young audiences to new cultural practices. However, the system does not seem to fulfill this diversification objective.
An observation that Sébastien Cavalier, president of SAS Pass Culture, qualifies. “When we look at the studies we do when young people leave the Culture Pass, we see that the lines are moving. Many young people have discovered bookstores and cinemas and have changed their practices”he shares, emphasizing the importance of including such a device “in time”indicating that “three years is a bit of a short period”.
“The Culture Pass is first and foremost a mirror of the reality of young people’s practices.”
Sébastien Cavalierfranceinfo
Practices which may not seem legitimate to some, but which are “however important to recognize and consider”. The latter explains that it is through a process of “consideration” and of “trust” that young people develop a “very active participation” and arrive at “get out of their comfort zone”.
Sébastien Cavalier also seems rather confident regarding the future of the Culture Pass, Minister Rachida Dati in her response to the Court of Auditors having mentioned a wish to maintain it and develop it, “which is normal and which is in the DNA of the pass, since since the experiment, it has already evolved a lot”he points out. Rachida Dati having also expressed the wish to provide a reward to young people with the least financial means, he explains that SAS Pass Culture is working precisely to ensure that these new requirements come into force. “in the budgetary equation that we all know”echoing the current budget crisis.
Richard Gere returns to the screens in the same way he left his mark on the general public 44 years ago with American Gigolo by Paul Schrader, finding the latter in Oh, Canada. The actor plays a great documentarian, very ill, one of whose former students wants to hear from him before it is too late. However, he does not answer the questions, his memory goes astray. Overwhelmed by emotion, he atomizes the facts. A situation that Richard Gere himself experienced with his own father. The actor confides that the last memories told by his father “were completely false”specifying that it was not the facts that were important to him, “what was it was the emotion, the feeling, the experience he was living”. It is this relationship with memories that the actor wanted to express in the character he plays, explains the actor.
“It’s the emotions, the experience we live through that are more relevant, that’s what my character tries to express.”
Richard Gere also recounts a short but well-executed filming experience by director Paul Schrader, due to the small budget he had. The 17 days of filming did not seem to pose a problem for him, who says “like to turn fast”. “Paul knows exactly how many pages fit into a schedule for a given budget, there’s nothing superfluous. Nothing was left out. Everything we shot is there.”
Also showing this week, Mufasa : The Roi Lionan original story, prequel to the genesis of Mufasa, the father of Simba, hero of the successful Disney animated film The Lion King, released 30 years ago now, and which continues to touch succeeding generations of children. Director Barry Jenkins, to whom we owe, among other things, the film Moonligntsays he was immediately seduced by the scenario. “Screenwriter Jeff Nathanson has done a great job of bringing his characters to life in a fresh and new way, while keeping in mind that over 30 years, audiences have developed a real relationship with these characters, he explains. So a lot of the work was already done in the script.”. A scenario which particularly appealed to the director for its treatment of parenthood and transmission. “I find it very interesting that because of these differences in their upbringing, Mufasa becomes the best version of himself, and Scar the worst. It’s a real tragedy.”shares Barry Jenkins.
Oh, Canadaet Mufasa, The Lion Kingin theaters from Wednesday December 18, 2024.
A program with the participation of Yann Bertrand, Thierry Fiorile and Matteu Maestracci, journalists in the Franceinfo culture department.
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