We knew Roselyne Bachelot “big head” since her departure from the Ministry of Culture. We also discover it “big mouth”. “Arrogant snobbery”, “clientelist fortresses”, “well-meaning” : the former Minister of Culture Roselyne Bachelot hits hard on the faults of the middle in a book review of her passage Rue de Valois, “682 Days”.
In this book published by Plon, the predecessor of Rima Abdul-Malak looks back on the massive aid granted to the cultural sector during the health crisis and on the policies she was able to carry out from July 2020 to May 2022. But above all she settles her accounts .
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Instagram – A post shared by Roselyne Bachelot (@roselyne_bachelot)
And some artists, “the craziest”are particularly in the sights of the former minister who believes that they have shown ingratitude by criticizing the action of the State, while the sector, at a standstill, was kept under financial infusion.
Among these: the“sourness” and the “grudge” of the singer Clara Luciani, who had joked about the alleged ” vacation “ by Roselyne Bachelot in August 2020, or the “disparaging remarks” of singer-songwriter Benjamin Biolay, although he is not one of the “nothing to complain about the system”.
“You put me on dry bread! »he will launch it publicly. “His toast in any case was well buttered and on both sides”, replied Roselyne Bachelot today. The singer responded to him on Instagram by posting an image of a parody of a Tintin album entitled “In Search of Your Dignity”. Atmosphere.
Rima Abdul-Malak, from the shadow of the Elysée to the light of the Ministry of Culture
In general, Roselyne Bachelot confides her bitterness over the Covid period:
“Throughout this crisis, I remained stunned by the double talk of this environment. When we went to greet the artists in their dressing room, the testimonials of gratitude were constant. On the other hand, on television and on the radio, the aggressiveness and the victimization were deployed. »
The sharpest attacks are addressed to French cinema, after an evening of the César 2021 where inappropriate humor (the performance of the mistress of ceremonies Marina Foïs was not really appreciated by the minister), between oneself and recriminations of the artists ( including actress Anny Duperey) have created unease.
“One could expect from the world of cinema, stuffed with public money, in the absence of recognition – let’s not ask for the impossible! – at least a short and courteous greeting to the representative of the State during this demonstration. […] The famous “cultural exception” indeed allows very many French films to “not find their audience”, as we say modestly, or, more explicitly, to be flop”.attacks Roselyne Bachelot.
“The system also allows the actors who are at the head of the casting to receive staggering fees three or four times higher than those of the actors of the films of American independent cinema”she adds.
“Direct subsidies, advances on receipts, tax exemptions, intermittency have created an assisted economy which not only cares little for the tastes of the spectators but professes a contempt displayed for “mainstream” and profitable films. Giving a César to Dany Boon and his more than 20 million admissions for “Bienvenue chez les Ch’tis”, pouaaaaah! »she quips.
