Senior index, women’s pensions, long careers, 49.3: what to remember from the interview with Elisabeth Borne

Posted 2 Feb. 2023 at 22:01Updated Feb 3. 2023 at 9:00 am

On the front line and with a confidence rating that shows. Prime Minister Elisabeth Borne, guest this Thursday evening of the program “L’Event” on France 2, once again tried to explain the very unpopular pension reform. This reform is “a collective effort, it affects everyone. I hear the questions, I hear the concerns”, she first repeated, hammering however, like Emmanuel Macron, that she is “indispensable” to “ensure the future of the pay-as-you-go pension system and therefore its balance.

Before the arrival of the text in the Hemicycle on Monday, a debate for which more than 20,000 amendments were tabled, the head of government tackled the Nupes groups that she pointed to for “invective” and “obstruction in the Social Affairs Committee this week.

women’s retreat

Elisabeth Borne also tried to answer a number of controversial points about the reform, while she assured that she wanted to be attentive “to the way in which the effort is distributed”. On the women in particular, she reiterated that after the reform, they will leave a little earlier than the men whereas today they leave later.

Above all, she insisted on the fact that one in three women must benefit from the revaluation of the minimum pension. On the other hand, she assumed, when asked about the lost benefit of all or part of the quarters for maternity, “to ask the French to gradually go from 62 to 64 years old”. On long careers, the former Minister of Labor referred to the parliamentary debate.

Progress goals

The Prime Minister especially made a small opening on seniors. Considering it “very shocking not to be able to get a job because you are a senior”, insisting on the need to see “images, representations, practices” change for seniors in companies, she bet on the parliamentary debate ” next week” for additions to the senior index, with the idea of ​​progress goals on different criteria.

This index “will show the companies which have good practices or not with seniors”, she declared, referring to “sanctions” if the companies which would have bad results in the matter “do not put in place a plan of action to correct these bad practices”.

She also assured, without further details, that it will be necessary to ensure that certain voluntary departure plans or certain conventional terminations are not more advantageous for companies than keeping these seniors. Elisabeth Borne also declared herself “favourable” to this senior index concerning companies with 50 employees.


“I give him the point on it” conceded the secretary general of the CFDT Laurent Berger on the senior index after the interview with the Prime Minister whom he strongly criticized, pointing to a lack of empathy. “The Prime Minister presented curves. Nothing has changed. People demonstrated en masse, but it looked like the January 10 press conference, nothing changed, ”he lamented, again pointing out” the injustice of the decline for all at 64 “.

The president of LR, Eric Ciotti, estimated that the “Prime Minister was struggling” to defend the reform. And returned to the parliamentary debate. Elisabeth Borne has in any case once again assured that she does not plan to use 49.3 to get her through.


Imprisoned for seven months, Iranian filmmaker Jafar Panahi has been released

While he had started a hunger strike on 1er February to protest against his conditions of detention, the Iranian director Jafar Panahi was released on bail this Friday, February 3, announced the NGO Center for Human Rights in Iran (CHRI, based in New York).

This Friday afternoon, the Iranian newspaper “Shargh” published a photo of the director hugging one of his supporters, proving his effective release.

The sequel after the ad

The 62-year-old filmmaker, author of award-winning films in Europe, had been imprisoned since July in Evin prison in Tehran for a six-year prison sentence handed down in 2010 for “propaganda against the system”. His arrest took place even before the start of the wave of protest actions that have shaken the Iranian regime since September after the death of Mahsa Amini.

The cry of alarm from the son of Jafar Panahi, imprisoned in Iran: “We have nothing more to lose”

An abusive imprisonment, which many personalities and organizations in the world of cinema have denounced, in particular the Cannes festival and two collectives of French filmmakers, who had called for his release.

“It’s extraordinary, a relief…”

To AFP, the French producer Michèle Halberstadt, who distributes her films, was delighted:

“It’s extraordinary, a relief, a total joy. […] His next fight is to officially recognize the cancellation of his sentence. He’s outside, he’s free, it’s already great. »

A victory for human rights in Iran but also for the world of cinema, as Jafar Panahi is an adored and rewarded filmmaker. He won a Golden Lion at the Venice Film Festival in 2000 for his film “Le Cercle”. In 2015, he was awarded a Golden Bear in Berlin for “Taxi Tehran” and, in 2018, he won the Best Screenplay Award for “Three Faces” at the Cannes Film Festival.

Jafar Panahi’s latest film, “No Bear”, which, like most of his recent works, puts him directly on stage, was screened in 2022 at the Venice Film Festival when he was already imprisoned. He had won the special jury prize. When his release was announced, several film institutions expressed themselves on social networks, sharing their joy at finally seeing Jafar Panahi come out of prison. Among these, the magazine “Cahiers du cinema” which publishes on Twitter a photo of the liberated director sent by the filmmaker’s son, Panar Panahi.


The showdown between doctors and Medicare is getting tougher

Posted 3 Feb. 2023 at 11:53Updated Feb 3. 2023 at 11:57

The negotiations between the liberal doctors and the Medicare enter the hard. This week, Medicare proposed to increase the basic consultation of these professionals from 25 to 26.50 euros. What ruffle the unions.

The proposal is “insulting”, MG France trade unionist Jean-Christophe Nogrette tweeted. He also criticizes “gas plants to access higher prices”. The revaluation put on the table is a “provocation”, also reacted the SML union, calling, like MG France, for a mobilization of protest by doctors on February 14.

Tough negotiations

“This increase will only occur if the contractual negotiations are successful and if they make it possible to build a system that values […] the commitment of the doctors who invest in favor of access to care for the population of their territory and encourage this commitment”, underlines for its part the Health Insurance.

For more than two months, liberal doctors have been talking with Medicare to renegotiate, by the end of February, the agreement that binds them to Social Security. The negotiations, supposed to be completed at the end of the month, are difficult at a time when hospitals are plagued by staff shortages and where nearly 600,000 patients suffering from chronic diseases are not followed by a doctor.

Often claiming to be overwhelmed and hampered by “administrative tasks”, liberal doctors are firmly awaiting fee increases. Some, with the collective “Doctors for tomorrow” have demanded a doubling of the price of the basic consultation to 50 euros, while all the trade unions have led protest movements in recent weeks (strikes, demonstrations, etc.).

Employment contract

For their part, the public authorities have hinted that doctors would see their incomes increase and have refused to question the free installation of liberals, the totem of the profession. However, the government is counting on the future conditions of remuneration of the Liberals to encourage them to take care of more patients, to treat emergencies, to go for consultations in medical deserts or to train young professionals.

The Health Insurance therefore offered doctors to sign a “territorial commitment contract” giving the right to “significant advantages”. In other words, practitioners who accept, for example, to take care of patients, open their practices and make themselves available in the event of an epidemic period, could access “higher levels of consultation prices”.

Knowing that doctors also receive lump sum payments and that they can always benefit from specific aid. For example to hire a medical assistant.


Vendée Globe 2024: Clarisse Crémer, motherhood landed

On February 3, 2021, Clarisse Crémer arrived in Les Sables-d’Olonne completing her first non-stop solo sailing trip around the world, the Vendée Globe, in 87 days, 2 hours and 24 minutes. In twelfth place, of course, but with a stunning time that made her the fastest woman in the history of the race, 7 days better than a certain Ellen MacArthur twenty years earlier. Something to sharpen his desire to start again on the next edition of the race, in 2024.

But before heading back on this extreme circumnavigation, another adventure awaits. The sailor has planned a pregnancy, and informs her sponsor. In early fall 2021, Clarisse Crémer and Banque Populaire officially embark on a new marine campaign. In the spring of 2022, Clarisse Crémer leaves the helm of her boat to Nicolas Lunven, double winner of the Solitaire du Figaro, who must act as interim while she is pregnant.

I am happy that Banque Populaire supports me and accompanies me in what I live. Combining motherhood and high-level sport is a real challenge and I really want to reconcile the two with the same enthusiasm. I’m satisfied at the moment but I’m already looking forward to getting back out to sea,” then declares the future mother to Figaro.

A long-standing situation

In mid-November 2022, while her companion, skipper Tanguy Le Turquais, was on the ocean, engaged in the Route du Rhum, Clarisse Crémer gave birth to a baby girl. She intends to get back on deck at the start of 2023, with her new boat, the ex-Apivia with which skipper Charlie Dalin finished second in the 2020 Vendée Globe and the last Route du Rhum. Except that mess. The Banque Populaire group informed her on January 27 that she had left the project.

Reacting Thursday February 2 on Instagram, the Parisian said to herself ” shocked “. She regrets the decision of her sponsor who, according to her, does not want to take on the risk of a skipper-mum, and that of the organization of the Vendée Globe, whose new rules almost make it impossible to conduct offshore racing and maternity . In fact, the Clarisse Crémer “case” does not suddenly stir up the pontoons.

To understand, you have to go back to the new rules established in October 2021 by the organization of the Vendée Globe. They are reinforced to guarantee more safety on the race and to limit the number of participants. They were 13 for the very first edition in 1989. The attractiveness of the event is such today that the organization wishes not to exceed 40 starters.

They will be divided between 13 new boats entered automatically (the aim is to encourage innovation), 26 which must accumulate points by participating in competitions in the IMOCA class (18.28 m monohulls), and one last invitation reserved by the organizers completes the selection.

It can be noted that the opinion of the organizers promulgating these rules in 2021 evoked “a process of feminization of offshore racing” by allowing the addition of points for The Ocean Race, a crewed race involving many women. But these rules, by obliging a regularity in running over a long period, obviously do not facilitate the realization of a pregnancy.

To find a solution – modification of the rules or invitation – allowing a commitment of its navigator, Banque Populaire claims to have conducted long negotiations with the organization of the Vendée Globe. In vain. The sponsor considers that Clarisse Crémer “is in a situation today that does not allow him to hope for the number of points necessary to qualify for the Vendée Globe 2024”. And therefore decides to bet on another skipper.

A general lack of anticipation

The organization for its part, in a statement Thursday, February 2 evening, recalls that its rules “were based on discussions and proposals debated and voted on” in general assembly by the IMOCA class, the association which since 1991 has presided over the destiny of this class of boats. “To preserve fairness towards all the suitors”she assures that she cannot “Allow yourself to change the rules”. As for a possible invitation, the organization specifies that it can only be awarded at the end of the selection process.

End of inadmissibility, therefore. Definitive? Sports Minister Amélie Oudéa-Castéra hastened Thursday evening to intervene with the president of the Vendée Globe, Alain Leboeuf. Who “rrecognizes that the rules of the race must imperatively evolve to allow sailors to live their motherhood serenely »according to the Minister who specifies: “For 2024, Clarisse’s chances are not extinguished ».

But for now, the situation seems inextricable. It reveals the general lack of anticipation in an environment that has long been far from these concerns and that more and more women sailors are jostling, not just sportingly.



« Astérix et Obélix mission Cléopâtre » : quand Chabat invite la diversité dans la mythologie française

Le 1er février est sorti en salles « Astérix et Obélix : l’Empire du milieu » de, et avec, Guillaume Canet, cinquième adaptation des aventures d’Astérix au cinéma. Misant apparemment sur l’exportation, le film amène les deux compères en Chine, et en profite pour mettre en scène plusieurs comédiens français issus des communautés sud-asiatiques entre les vedettes de la télévision et surtout d’internet, prétexte à quelques carambolages de stéréotypes culturels qui ont longtemps fait le succès de la bande dessinée.

A l’heure où la question de l’ethnicité des comédiens dans les films et séries à connotation historique fait débat (notamment « Bridgerton » et « les Anneaux de pouvoir »), il semblait utile de se repencher sur le film le plus important de la lucrative licence, qui avait le premier traité cette question : « Astérix et Obélix : Mission Cléopâtre », d’Alain Chabat, sorti en 2002.

La suite après la publicité

C’est peu dire qu’Astérix incarne une certaine idée de la France, au cinéma comme ailleurs. La bande dessinée à succès de Goscinny et Uderzo n’était à l’origine qu’une parodie potache de leurs cours de latin et de l’iconographie qui l’accompagnait, agrémentée de ce qu’il faut de mythologie gaullienne sur la France résistante et de clichés régionalistes, non sans une certaine ironie. Son succès triomphal dans la revue « Pilote » lui a alors valu plusieurs adaptations animées (pas moins de dix depuis 1967), ainsi qu’un téléfilm assez confidentiel de Pierre Tchernia en 1967, et surtout une foule de produits dérivés. Après plusieurs projets avortés, ce n’est toutefois qu’en 1999 (soit dix ans après la création du Parc Astérix) qu’un long-métrage en prise réelle est proposé en salles.

Ce sera « Astérix et Obélix contre César » de Claude Zidi, réalisateur émérite et prolifique célèbre pour ses comédies souvent cabotines, grasses et certifiées du terroir, des « Bidasses en folie » à « l’Aile ou la Cuisse ». S’y succèdent à l’écran tout ce que le box-office de l’époque compte de vedettes vieillissantes de la comédie populaire et du théâtre de boulevard : aux côtés des têtes d’affiche Christian Clavier et Gérard Depardieu s’ébrouent ainsi Michel Galabru, Claude Piéplu, Daniel Prévost, Pierre Palmade, Arielle Dombasle, Sim, et même Jean-Pierre Castaldi. Toute l’équipe réunie par le producteur Claude Berri était donc finalement au diapason du projet : la célébration joviale d’une pièce montée farcie de comique troupier, de mythologie chauvine et de clichés franchouillards (jusque dans ses effets spéciaux). En somme, l’expression « gauloiserie » aurait pu être créée pour l’occasion si elle n’eût pas déjà existé.

Mais le film était aussi soigneusement calibré pour remplir les multiplex pendant les vacances de février et résister au prévisible assaut des critiques cinéphiles affligés – Jean-Claude Loiseau aura toutefois la politesse d’y voir, dans les colonnes de « Télérama », une « scrupuleuse opération de protection du patrimoine », peut-être une manière de dire que le film avait quarante ans de retard. Le box-office fut donc au rendez-vous, et nos Gaulois signèrent le plus gros succès de l’année 1999 (avec 9 millions de spectateurs), écrasant quand même entre autres « Star Wars : la Menace fantôme », « Matrix », « Fight Club », un « James Bond », un Almodóvar, un Polanski et le dernier Kubrick. Toutefois, le parfum de ringardise qui se dégageait déjà de l’ensemble menaçait de compromettre tout projet de suite.

Mais c’était sans compter un revirement complet de Claude Berri, qui décida de confier l’adaptation suivante à Alain Chabat, meneur de l’équipe des Nuls sur Canal +, c’est-à-dire à un acteur connu essentiellement à la télévision, même s’il était déjà apparu sur grand écran dans la très « culte » « Cité de la peur » (1994) avant « Gazon maudit » (1995) et surtout « Didier » (1997), qui lui avait valu plusieurs récompenses autant comme acteur que comme réalisateur, éveillant l’intérêt de Berri. Confier le film à Chabat revenait toutefois à le confier à une tout autre « école » humoristique que celle de Claude Zidi : celle, chic et choc, de l’« esprit Canal », alors en gloire sur le petit écran, pétrie d’humour juif, américain ou britannique facilement clivant, ainsi que de nouvelles stars souvent issues de la diversité, aux antipodes de l’esprit du premier film. Une telle synthèse semblait impossible, et risquait d’être accusée d’outrage au patrimoine.

La suite après la publicité

Nos ancêtres les séfarades ?

C’est là que le choix de l’œuvre-source fut déterminant : en se détournant d’« Astérix gladiateur », du « Combat des chefs » ou encore d’« Astérix légionnaire » au profit du péplum « Astérix et Cléopâtre », Chabat s’autorisait à redessiner toute la géographie des aventures des deux Gaulois, et à la reterritorialiser dans un espace méditerranéen qui fut effectivement le centre de gravité de l’empire romain naissant. Ce faisant, il devenait parfaitement naturel (et assez historiquement exact) que nos deux amateurs de sanglier et la bande bien française des Robins des Bois évoluent parmi des acteurs non seulement italiens (Monica Bellucci) mais aussi séfarades (Alain Chabat, Gérard Darmon, Jean Benguigui), voire ashkénazes (Pierre Tchernia, Mathieu Kassovitz), et d’autres d’origine marocaine (Jamel Debbouze et l’essentiel des figurants), algérienne (Zinedine Soualem), et même d’Afrique subsaharienne (Mouss Diouf, Fatou N’Diaye et l’encore fréquentable Dieudonné), osant même quelques comédiens ultramarins avec Edouard Montoute et Noémie Lenoir.

D’autres personnalités issues de la diversité ont failli enrichir ce casting avant d’être finalement écartés, comme JoeyStarr (qui signe toutefois la chanson du générique), Omar Sy et même Isabelle Adjani (initialement envisagée comme l’Elizabeth Taylor française). La question ethnique n’est absolument pas anodine dans le film, et est même levée explicitement par César (donc de la bouche même du scénariste et réalisateur) quand il lance à Cléopâtre : « Je te rappelle que tu es grecque, donc comme égyptienne de souche, on a fait mieux », parodiant une formule que le Front national était alors en train de mettre à la mode. Plus tard, Numérobis s’interrogera sur la licéité de manger du sanglier, autre allusion transparente aux problématiques quotidiennes des descendants d’immigrés maghrébins.

Prouesse dans le paradoxe

Tous ces acteurs incarnaient donc une certaine relève cinématographique par rapport au panel de vieux comiques des années Giscard du premier film, ringardisant même gentiment les deux héros souvent réduits à un rôle de spectateurs internes circonspects dans un scénario où ils font surtout figure de touristes (ce qui valut aussi pour les acteurs, Clavier en conservant un souvenir amer). L’objectif était assumé : conserver Christian Clavier, mais « déjacquouilliser » (1) Astérix, et offrir un grand rôle à Jamel. Ce faisant, Chabat impose un nouveau rythme, un nouveau phrasé, de nouvelles références et un nouvel « esprit » à la franchise, ce film devenant l’un des monuments les plus aboutis de l’« esprit Canal » et ce, tout en respectant scrupuleusement l’œuvre originale, dont de nombreux dialogues sont retranscrits à la virgule près.

Le petit écran pénètre le grand à travers de nombreux traits, comme le montage en sketchs tenant presque du numéro-gag, les scènes de clip musical, voire de dessin animé, et les nombreuses allusions à la publicité et à la culture télévisuelle, mais aussi et surtout à la culture urbaine dans sa diversité. Un an après la Coupe du Monde de football qui avait consacré la « France Black-Blanc-Beur », le film réussissait donc le tour de force de justifier de la manière la plus incontestable que Jamel Debbouze tienne le rôle principal d’un Astérix, et de montrer une Antiquité où, loin des clichés sur « nos ancêtres les gaulois », l’Empire romain est une vaste mosaïque multiethnique parfaitement transméditerranéenne, où César se préoccupe davantage de la géopolitique du Moyen-Orient que d’un village breton. Prouesse dans le paradoxe, le seul personnage du film clairement identifié comme « immigré » (« vous êtes nouveau ici ?  ») est finalement le légionnaire Joël Cantona (frère de), avec son fort accent du midi.

La suite après la publicité

Avec le recul, on peut s’étonner qu’aucune voix nationaliste ne se soit levée à l’époque pour dénoncer ce sournois melting-pot, mais il faut dire que le Front national était alors au plus bas, le Parti socialiste à Matignon et le RPR en opération séduction des centristes ; Eric Zemmour n’était encore qu’un obscur plumitif du « Figaro », essentiellement connu comme biographe béat d’Edouard Balladur.

Le film de Claude Zidi fut un succès, celui de Chabat un triomphe, autant critique que public, rassemblant plus de 14 millions de spectateurs et égalant presque le record historique de la « Grande Vadrouille ». Les quatre nominations aux Césars (dont un remporté, pour les décors) furent aussi une consécration institutionnelle rare pour une comédie populaire, même si plusieurs critiques de l’époque s’indignèrent de cette incursion du monde de la télévision sur les grands écrans.

Si ce genre de grande comédie rassemblant acteurs stars, humoristes branchés et vedettes de la banlieue est aujourd’hui presque devenu la norme (notamment dans les « Astérix » suivants, dont c’est devenu le business-model), il faut se rendre compte que le pari était encore hasardeux à l’époque, le genre de la comédie de banlieue étant alors balbutiant et relégué à une « beursploitation » confidentielle. Le premier grand succès du genre (« le Ciel, les oiseaux… Et ta mère ! ») avait popularisé le même Jamel en 1999, lançant également la carrière du cinéaste spécialisé Djamel Bensalah (« Il était une fois dans l’Oued », « Beur sur la ville ») ; l’année précédente, « Taxi » avait créé la surprise, mais demeurait un film fantasmant la culture des banlieues de l’extérieur. Pour l’essentiel, cette culture beure demeurait encore peu présente au cinéma, et restait surtout associée à la télévision, notamment sur Canal + avec la série « H », qui lança entre 1998 et 2002 les carrières de Jamel et Eric et Ramzy, mais vit aussi se succéder des caméos de toute la nouvelle génération comique, à la manière de « la Classe » de Guy Lux dix ans plus tôt.

Diversité des références

Toutefois, il ne suffisait pas d’un casting pour faire communier autour d’un même film le public du premier opus et celui de Canal + et notamment de « H » : tout le film devait ambitionner de complaire dans son humour et son univers aussi bien à la génération Giscard qu’à celle de Jamel, impliquant notamment de marier cinéma et télévision. Et c’est là que réside sans doute le véritable tour de force d’Alain Chabat, qui réussit à empiler avec art des niveaux de lecture, mêlant des références au cinéma français (« le Grand Blond ») comme américain (du classique « Ben Hur » aux plus récents « Full Metal Jacket », « Forrest Gump », « Jurassic Park » ou « Star Wars », ainsi qu’aux films de kung-fu) à d’autres issues de la télévision (« l’Homme qui valait 3 milliards », « Benny Hill », « Tex Avery » et plusieurs publicités de l’époque), tout en parodiant Arlette Laguiller et Théodore Géricault avant James Brown et les ZZ Top, sans oublier de glisser un alexandrin ou une citation de « Cyrano » entre les jeux de mots potaches et les sentences latines chères à Goscinny.

La suite après la publicité

Cette diversité des références est même thématisée dans le film, où Egyptiens et Gaulois peinent plusieurs fois à comprendre l’humour ou la culture de l’autre (Astérix et Numérobis lâchent tour à tour « c’est une autre culture… »). Certains ponts sont plus naturels, comme les références à Claude François, à la fois vedette giscardienne et authentique égyptien. Les références à l’Algérie, comme à la ville d’Oran (lieu de naissance d’Alain Chabat, mais fondée en 902), sont donc totalement à leur place dans l’économie générale du film et passent presque inaperçues, comme le fait, rétrospectivement cocasse, que des Gaulois s’associent à des Nord-Africains pour lutter contre la colonisation. C’est ainsi que le dialogue d’ouverture du film, qui oppose César à Cléopâtre sur le thème de la prétendue supériorité culturelle et technique de la jeune Rome sur la vieille Egypte, peut être perçu comme une allusion directe à l’Algérie française (« l’Egypte n’est plus qu’une province de Rome »).

On notera d’ailleurs que la Gaule se trouve totalement provincialisée dans ce débat ; mieux, dans la scène finalement coupée d’Omar et Fred, ce dernier se défendait de faire du « travail de Gaulois », dans un malicieux retournement de l’expression coloniale. La fierté retrouvée de l’Egypte face à César, dans la scène de résolution où « Egyptien et Romains travaillèrent main dans la main », coïncide alors avec l’appropriation de cette mythologie gauloise chère aux nationalistes par la génération Canal et black-blanc-beur, une génération à l’image non plus du petit village irréductible et chauvin, mais du glorieux empire Romain, carrefour des cultures ouvert sur le monde.

C’est peut-être ici que Chabat est le plus fidèle à Goscinny, lui-même juif ashkénaze et témoin traumatisé de la Seconde Guerre mondiale comme de la chute des grands empires européens, source de la critique de l’impérialisme qui traverse tout « Astérix ». Ayant fait ses classes au lycée français de Buenos Aires, il fut aussi un enfant de la diplomatie française de coopération, donc d’une vision pacifiste, culturelle et cosmopolite du soft power français bien éloignée du colonialisme militaire, et telle qu’elle s’est longtemps illustrée à… Alexandrie. Ce souvenir se retrouve d’ailleurs chez un autre ashkénaze (Michel Hazanavicius) dans « OSS 117 ». C’est donc aussi à tous les orphelins d’empire, à tous les déplacés par l’Histoire (comme Uderzo, immigré italien) que cette œuvre s’adresse, bien au-delà des clichés nationaux et de l’humour suburbain, et la question ethnique tient ici moins de la revendication identitaire (inexistante) que du rapport à la France, à la fois ancienne puissance coloniale et flambeau de l’émancipation.

Il n’est pas certain que Guillaume Canet – premier cinéaste à rompre avec Goscinny pour son scénario – atteigne le même degré de subtilité dans le traitement de l’arrière-plan socioculturel de son film, qui semble résumer l’Asie antique au karaté. Mais laissons les spectateurs se faire leur idée…

(1) L’expression est d’Alain Chabat, citée en interview par le monteur Stéphane Pereira.


Pensions: the government ready for a gesture for the liberal professions

Posted 3 Feb. 2023 at 6:30 am

The pension reform could lead to an increase in pensions for liberal professions with large families. The government is ready to support the proposals of parliamentarians going in this direction during the debates on the reform which will begin from Monday in the hemicycle at the Assembly.

“Today, the liberal professions – they are numerous and not necessarily always with incomes as high as the image we have of them – do not benefit from the 10% increase enjoyed by other insured persons from the third child. “, noted the Minister of Labor, Olivier Dussopt, Wednesday evening during a hearing in the Assembly by the Delegation for Women’s Rights.

“This is one of the things that we can also look at to ensure that there is maximum equality,” continued the minister, saying the government “fully ready by the meeting to move forward with the parliamentarians who wish”, particularly on this subject.

Amendment in the majority

Dating back to 1924 and gradually extended to the various pension schemes – except for that of the liberal professions -, the principle of a pension increase from the third child is valid for men and women. In 2020, 38% of retirees from the general scheme benefited from this type of bonus. However, this share is tending to decrease due to the decline in the number of large families.

The issue of pension increases for liberal professionals was raised by U2P, the organization representing artisans, traders and the liberal professions. “This could concern in particular all liberal nurses”, underlines the Renaissance deputy, Marc Ferracci, who tabled an amendment to the bill on this subject on Thursday evening with the other members of the group.

Recalling that the pension bonus already benefits craftsmen and traders, the amendment proposes that this “essential solidarity device” be transposed to liberal professionals “for retirements from September 2023”.

This possible development at the margin of family pension rights comes as opposition ensures that the pension reform will penalize women. The postponement of the legal age from 62 to 64 will in fact cause women who have contributed enough to leave at 62 to lose the benefit of all or part of the quarters of contribution granted according to their number of children.

Referral to COR

However, the government argues that women will gradually retire earlier than men in the coming years. Because more and more of them are making a full career and benefiting from terms for children. “The fact that these quarters come in addition and not in return [de trimestres « perdus » du fait d’un arrêt de la carrière] can question us, ”said Olivier Dussopt on Wednesday.

Recognizing that there are inequalities in terms of family rights (in particular between civil servants and private sector employees) and that women suffer from lower pensions than those of men, the government is not closing the door to global discussions on these subjects, which could lead to a harmonization of rights and, in one way or another, to increases in pensions. However, it refers the debates to later and to studies by the Pensions Orientation Council. At this stage, the COR has not yet been seized of the file.


“Asterix and Obelix”: “Canet bashing” is in season

A bad wind tickles the wings of Asterix’s helmet. Asterix and Obelix. The middle Empire “ directed by Guillaume Canet is greeted by a flurry of bad reviews, all the more scathing as the promo is omnipresent. The formulas are killer: “Guillaume Canet’s tragic potion”“Asterix and Obelix: The Middle Empire – criticism that makes you want Canet”, ““Asterix and Obelix: The Middle Empire” by Guillaume Canet: his fish is not fresh”, ““Asterix and Obelix “, the worst in the middle”… We understand that there is a scent of “Canet bashing” floating in the air that makes us wonder, paraphrasing a line from Alain Chabat’s Asterix: “ Is all this violence really necessary? »

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For months, this new opus of Asterix has been announced as one of all excesses: an original scenario, a pharaonic budget of 65 million euros, a host of stars in the cast… It’s because arguments are needed. to pass after the mastodon signed Alain Chabat “Asterix and Obelix. Mission Cléopâtre”, released in 2002, which rose to the coveted status of a cult film. Those who succeeded him (“Asterix and Obelix at the Olympic Games” and “Asterix and Obelix in the service of Her Majesty”) did not come close to him, while posting decent commercial successes.

The sequel after the ad

The challenge to be taken up by Guillaume Canet was therefore immense, especially since Gérard Depardieu had hung up his braies. Canet and Chabat themselves had also humorously staged the weight of this heritage in a scene from the “Late Show” which seems even more gritty today: “I wouldn’t like to be in your place”, had prophesied the ex-Nul.

The director of “Petits Mouchoirs”, a good pupil of French cinema if ever there was one, has nevertheless rolled up his sleeves since the announcement of the takeover of the project four years ago. Moving away from the albums signed Uderzo & Goscinny, he bases his film on an original screenplay. Contrary to Chabat, he puts the two historical Gauls back at the center of the plot and entrusts the role of menhir delivery man to his friend Gilles Lellouche who performs the task brilliantly, managing to compete with Gérard Depardieu, author of this precious advice : “To play Obelix, you have to have daisies in your eyes. » In the end, Guillaume Canet offers a film of which he has nothing to be ashamed of, even if he does not manage to dethrone that of maestro Chabat, far from it.

What is the best of all “Asterix and Obelix”? We have classified the 15 films adapted from the adventures of the two Gauls

But a film can be defended and Canet certainly did it a little clumsily. Especially when he overdramatized the situation of French cinema by implying that his film alone carried the entire weight of this industry on his shoulders, as he declared on France-Inter: “A film like this is long awaited by the profession. They are very nice to me, they know that if this film doesn’t work, there won’t necessarily be many others in France today. »

Remains that “Asterix and Obelix. The Middle Kingdom” certainly suffers from the curse of over-anticipated films. Each new episode of the adventures of the two Gauls is an event in itself and Guillaume Canet and his distributor have teased the release of the film so much for months that the return to reality is like a cold shower. The magic not having fully operated, disillusion takes precedence over indulgence. And one bad review always leads to the next, even more acerbic one.

The sequel after the ad

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Instagram – A post shared by Guillaume Canet (@guillaumecanetofficiel)

Remember the fate reserved for the film “RRRrrr!!! » in 2004. Alain Chabat, crowned with the immense success of « Asterix and Obelix. Mission Cleopatra”, returned with a film set in the Stone Age and featuring the entire Robins de bois band, known at the time for their (very) wacky humor. The reception of the film will be calamitous. Evidenced by this criticism of the “Parisian” displaying a big “Nulll! on the front page of the newspaper! A surge such as Alain Chabat will then take more than eight years before returning behind the camera. Will it be the same for Guillaume Canet? In any case, in terms of rubbing shoulders with “the Gallic spirit”, the director is served.


CGT: Philippe Martinez fails to impose his candidate Marie Buisson

Posted 2 Feb. 2023 at 06:55 PMUpdated Feb 2. 2023 at 20:58

Philippe Martinez had to come to terms with it. At the written request of a majority of CGT federations, the National Confederal Committee (CCN) of the central, made up of federal and departmental numbers, discussed on Wednesday the management team which will be appointed at the Clermont-Ferrand congress. , end of March.

The subject had been relegated by the confederal leadership after 9 p.m. in an attempt to limit the duration of the debates and contain the revolt against Marie Buisson, the candidate that the outgoing secretary general is trying to impose to succeed him. It didn’t work out as the meeting continued until 4:30 in the morning.

“Violent” exchanges

During these six hours of discussion, the exchanges were “very violent”, according to several sources. The sixty or so interventions were divided between those who demanded the construction of an alternative of “gathering” to the candidacy of Marie Buisson and those who defended it, the two camps returning the responsibility of dividing the organization.

With sometimes counter-intuitive interventions, as when the number one of the railway workers, the very communist Laurent Brun, opposed to the appointment of Marie Buisson, explained in substance that the time of democratic centralism where the outgoing number one chose the next was finished. Like other representatives of federations, the railwayman insisted on the refusal of management to work collectively on the future management team.

Final maneuver

On the side of the supporters of Marie Buisson, the accusations of “struggle for places” have rocketed. But the interventions mainly focused on the fact that she is a woman. Now “the power is us”, even said a head of departmental union, while Catherine Perret castigated “those who, in the territories, terrorize women”. This close friend of Philippe Martinez also said she was “proud” of having signed the women’s petition in support of Marie Buisson, whose covert author is none other than the chief of staff of number one, which concentrates the reviews.

At the very end of the meeting, Philippe Martinez attempted a final maneuver. Since he announced his departure and presented Marie Buisson in June to succeed him, he has always refused to submit the teacher’s candidacy to the CCN’s vote before the congress. To everyone’s surprise, without it being on the agenda, he asked in a final intervention for a vote on the candidacy of Marie Buisson, this one doing the same. Without success. Several voices were raised to refuse the method, to say that they had no mandate from their organization or simply to leave the room.

Open crisis

Did the leader of the CGT try to “kill the match”, according to the expression of a CGT member? More specifically, did he think that the teacher would pass the test although the balance of power in the event of a vote on the basis of the unionized workforce of each other is far from certain? Or was it a question of throwing the responsibility for the open crisis on its opponents?

The federations will have to decide whether to ask for a final meeting of the CGT “parliament” on the future direction. Failing this, the succession will be settled at the congress. “If there are candidates, let them say so,” Catherine Perret asked the CCN, without having an answer.

For the time being, in addition to Marie Buisson, only the ultra Olivier Mateu, of the Departmental Union of Bouches-du-Rhône, has declared himself, but his candidacy is a priori not admissible and, in any event , it will not collect.


Death of Jean-Pierre Jabouille, first Renault driver to win an F1 Grand Prix

Former French racing driver Jean-Pierre Jabouille, architect of Renault’s first victory in Formula 1, died Thursday at the age of 80, according to his family, who did not specify the causes of his death.

During his career, Jean-Pierre Jabouille, 49 F1 races to his credit between 1975 and 1981, had won two Grands Prix, in 1979 in France and the following year in Austria.

His first success on the circuit of Dijon-Prenois – the first in F1 of a turbocharged engine, a technology which will then become the norm -, Jabouille was the craftsman on the track but also in the workshops.

Two wins but 37 retirements

Holder of an engineering degree, the native of Paris on October 1, 1942 was an integral part of this project at the laborious beginnings. The engine often broke in billows of white smoke, which earned his single-seater the mocking nickname of “yellow tea pot” (yellow teapot).

The Frenchman has a most surprising record in the premier category with 37 retirements mainly due to technical problems, six pole positions, three finishes in the points only but two victories.

In Dijon in 1979, “I was only thinking about finishing the race, he told AFP in 2018. I knew we had a chance if we made it to the end. It was a great pride because it’s hard to win in F1. A relief also because I had often been in the lead and, each time, I had experienced reliability problems. »

Four podiums at the 24 Hours of Le Mans

For the “Big Blonde”, the race stopped soon after. At the 1980 Canadian GP, ​​a broken suspension sent his Renault into the wall, breaking both of his legs. The accident ended his career as a Formula 1 driver.

Four times third in the 24 Hours of Le Mans (in 1973, 1974, 1992 and 1993), he was subsequently technical director at Ligier, then took over as head of Peugeot Sport before creating his own endurance team, Jabouille- Bouresche Racing.



” Asterix and Obelix. The Middle Empire” achieves the best start of a French film for 15 years

The film “Asterix and Obelix: The Middle Empire” made the best start for a French film in fifteen years, with 466,703 tickets sold in France this Wednesday, February 2, despite harsh reviews.

What is the best of all “Asterix and Obelix”? We have classified the 15 films adapted from the adventures of the two Gauls

The most famous of the Gauls slightly outpaced the figures for Dany Boon’s “La Ch’tite famille”, which had 451,530 admissions on its first day in 2018, according to figures from the CBO Box Office.

The sequel after the ad

7e best start for a french film

It is the seventh best start of all time for a French film. However, it could not surpass the success of another Dany Boon film, “Bienvenue chez les Ch’tis”, released in 2008 (558,359 admissions).

Jonathan Cohen and José Garcia: “Playing in “Astérix” is a real playground”

The director of this blockbuster, Guillaume Canet, who also plays the role of Asterix, posted a screenshot on Instagram which indicated this information with the word ” Thanks “.

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Instagram – A post shared by Guillaume Canet (@guillaumecanetofficiel)