It’s on the set of Sens de la fêtein 2017, qu’Eye Haïdara a véritably appris son métier. In Olivier Nakache’s comedy and Eric Toledanoshe gave the reply to Jean-Pierre Bacri, and she has fond memories of it. Guest on France Inter this Wednesday, May 13, the day after the opening ceremony of the Cannes Film Festival that she orchestrated, the 43-year-old Franco-Malian actress spoke with palpable emotion about what the actor conveyed to her.
“He gave us a lot of things” : Eye Haïdara grateful to Jean-Pierre Bacri
“We learn so much. We watch him a lot. He’s someone accessible and very generous”remembers the mistress of ceremonies, who played Adèle, Max’s assistant, played by Jean-Pierre Bacri in Le Sens de la fête. In the film, the two actors are experienced wedding planners who find themselves faced with catastrophic employees whose mistakes they must correct, all while fearing a tax inspection. The comedy which has since become cult is one of the last films in which the actor played, showing the full extent of his comedic palette. What then of the mask of false villain, half exasperated and half funny, that Jean-Pierre Bacri wore constantly? asks Sonia Devillers. “I call it ‘clowns’, he had a clown that he mastered perfectly: the grumpy one”confides Eye Haïdara with tenderness. And behind the legendary grump, there was an actor of formidable precisionwho did not hesitate to share her experience and whose teaching marked the actress forever. “Besides that, really, I had cinema lessons with him”she continues. “Looking back, he left three years later, I say to myself that there was an act of transmission towards us. We were a lot of young people. He passed on a lot to us. I don’t know if it was calculated on his part, but in any case he did it and we received enormously.”
Of Sens de la fête à The object of the crime : Eye Haïdara perpetual heritage
Eye Haïdara finds this link with Bacri today in a particularly symbolic context. His next film, The object of the crimedirected by Agnès Jaoui, the lifelong companion of Jean-Pierre Bacri, with whom he had co-written all his films, is presented out of competition at the Cannes Film Festival and is dedicated to him. A powerful tribute that comes full circle in a beautiful way. In The object of the crimeshe plays Cora, a young black singer recruited to interpret Chérubin in The Marriage of Figaro, a man’s role, while rehearsals are disrupted by an accusation of sexual assault. A character that she describes as “the voice we know today”the one that opens the debates. On May 27, she will also be on display in Eyea spy thriller by Rachel Lang in which she plays a DGSE agent. A new register, the opposite of everything she has done so far, and which says a lot about the appetite of an actress who refuses to let herself be put in a box: she has come a long way since her meeting with Jean-Pierre Bacri.
