The 50th César Awards in Paris was a night of triumph for Jacques Audiard’s Emilia Pérez, a film that defied its turbulent U.S. awards season to claim seven prestigious awards, including Best Film and Best Director. Yet, beneath the glittering surface of this cinematic celebration lay unspoken tensions, as star Karla Sofía Gascón‘s controversial past tweets cast a shadow over the film’s success.
The Triumph of Emilia Pérez
Emilia Pérez wasn’t just a critical darling; it was a box-office sensation in France, where audiences embraced its bold storytelling and Audiard’s masterful direction. The film’s sweep at the Césars—winning Best Adapted Screenplay, Sound, Original Music, Special Effects, and Cinematography—solidified its place as a modern classic.
Audiard, now a 12-time César winner, delivered a heartfelt acceptance speech, quipping, “I fear you actually don’t like me,” before thanking his team and co-stars Zoe Saldaña and Karla Sofía Gascón. His acknowledgment of Gascón, despite publicly distancing himself from her recent controversies, added a layer of complexity to the evening.
Controversy and Absence: The Gascón Factor
Karla Sofía Gascón, whose past tweets sparked outrage in the U.S., made a quiet appearance at the ceremony, skipping the red carpet press line. Though she sat near Audiard and Saldaña, her subdued presence was a stark contrast to the film’s dominance. Gascón’s absence from the winners’ circle—losing Best Actress to Hafsia Herzi (Borgo)—was a poignant reminder of the personal toll of public scrutiny.
Other Highlights and Surprises
While Emilia Pérez stole the show, other films made their mark. Boris Lojkine’s Souleymane’s Story won four awards, including Best Male Revelation for Abou Sangaré, whose real-life journey mirrored his character’s struggles. Jonathan Glazer’s The Zone of Interest took home Best Foreign Film, while Flow won Best Animated Feature, keeping its Oscar hopes alive.
The ceremony also honored industry legends, with Julia Roberts and Costa-Gavras receiving honorary Césars. Roberts, ever the charmer, quipped about forgetting her speech, while Clive Owen praised her generosity as a co-star.
A Defiant Deneuve and a Political Statement
Catherine Deneuve, presiding over the ceremony, made a bold political statement by wearing a Ukrainian flag pin, dedicating the event to Ukraine amidst global tensions. Her presence added gravitas to a night that celebrated both art and resilience.
Here’s the complete list of winners from the 50th César Awards (2025):
Main Categories
- Best Film: Emilia Pérez
- Best Director: Jacques Audiard for Emilia Pérez
- Best Actress: Hafsia Herzi for Borgo
- Best Actor: Karim Leklou for Jim’s Story
- Best Supporting Actress: Nina Meurisse for Souleymane’s Story
- Best Supporting Actor: Alain Chabat for Beating Hearts
- Best Original Screenplay: Boris Lojkine and Delphine Agut for Souleymane’s Story
- Best Adapted Screenplay: Jacques Audiard for Emilia Pérez
Technical Categories
- Best Sound: Erwan Kerzanet, Aymeric Devoldère, Cyril Holtz, and Niels Barletta for Emilia Pérez
- Best Cinematography: Paul Guilhaume for Emilia Pérez
- Best Editing: Xavier Sirven for Souleymane’s Story
- Best Costumes: Thierry Delettre for The Count of Monte Cristo
- Best Production Design: Stéphane Taillasson for The Count of Monte Cristo
- Best Special Effects: Cédric Fayolle for Emilia Pérez
Special Categories
- Best Animated Feature: Flow by Gint Zilbalodis
- Best Documentary: The Bertrand’s Farm by Gilles Perret
- Best Foreign Film: The Zone of Interest by Jonathan Glazer
- Best First Film: Holy Cow by Louise Courvoisier
- Female Revelation: Maïwène Barthelemy for Holy Cow
- Male Revelation: Abou Sangaré for Souleymane’s Story
Short Films
- Best Short Animation: Beurk! by Loïc Espuche
- Best Documentary Short: Southern Brides by Elena López Riera
- Best Short Fiction Film: The Man Who Could Not Remain Silent by Nebojša Slijepčević
Honorary Awards
- Honorary César: Julia Roberts
- Honorary César: Costa-Gavras
The 50th César Awards was a night of contrasts: triumph and tension, celebration and controversy. Emilia Pérez‘s dominance reaffirmed Jacques Audiard’s status as a cinematic titan, while Karla Sofía Gascón’s subdued presence highlighted the personal cost of public scrutiny. The evening also showcased the diversity of French cinema, from Souleymane’s Story‘s raw authenticity to The Zone of Interest‘s haunting brilliance.
As the film industry grapples with questions of representation and accountability, Emilia Pérez‘s success raises a provocative question: Can a film transcend the controversies surrounding its creators, or are art and artist forever intertwined?
