Can International Films Be Nominated For A César Award?

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Eddy de Pretto's latest nomination came from his electrifying track 'Fête de Trop,' which absolutely blew me away the first time I heard it. The raw energy in his voice combined with those punchy, socially charged lyrics—it’s like he bottled late-night Parisian rebellion and spilled it into a melody. I’ve had it on repeat for weeks, and every listen uncovers something new, whether it’s the way he plays with rhythm or the subtle critiques woven into the verses. What’s wild is how he balances vulnerability and defiance. The song’s production feels like a smoky underground club meeting a poetry slam, and that nomination? Totally deserved. It’s rare to see an artist push boundaries while keeping the hooks so damn catchy. If you haven’t dived into his work yet, this track’s a perfect gateway.

I still get a little thrill thinking about the movie that first put Juhi Chawla on the Filmfare radar: it was 'Qayamat Se Qayamat Tak' from 1988. Watching that film on an old VHS as a teenager, I remember being struck by how fresh and natural she felt opposite Aamir Khan — not the glamour-queen starlet everyone expected, but a believable, charming young woman who could carry both comic and tender moments. That performance earned her a Filmfare nomination for Best Actress and also marked her as one of the most promising new talents of the era. To me, the nomination mattered because it wasn’t just about a single scene or song — it recognized how her whole presence helped the film land. 'Qayamat Se Qayamat Tak' revived a certain kind of romantic storytelling in late-80s Hindi cinema, and Juhi’s warmth and timing were central to that revival. People often remember the movie for Aamir’s breakout and the iconic soundtrack, but her nomination signaled that critics and audiences were paying attention to her as more than a pretty face. It’s the kind of early-career boost that opens doors — for varied roles, for a steady run through the 90s, and for later comedic and dramatic turns that confirmed she wasn’t a one-note performer. If you’ve never seen it, try watching with an eye on her expressions and small beats in the scenes; that’s where the nomination really makes sense. And if you’re already a fan, it’s fun to trace how that early recognition shaped the kinds of projects she chose afterward. For me, the nomination still feels like a little victory for understated, sincere acting — the kind that doesn’t always grab headlines but leaves an impression long after the credits roll.

Eddy de Pretto's nomination performances are such a vibe! I stumbled upon his electrifying live acts mostly on YouTube—official channels like the Victoires de la Musique or NRJ awards often upload full segments. His 2018 performance at the Victoires was iconic, with that raw energy and theatrical flair. I also recall catching clips on French TV networks like France 2 during awards seasons, where he’s known to bring avant-garde staging. For deeper cuts, platforms like Dailymotion or Vimeo sometimes host rare footage from smaller ceremonies. And if you’re into behind-the-scenes stuff, his Instagram or TikTok teases rehearsals, which are almost as gripping as the real deal. The way he blends hip-hop with cabaret aesthetics is just chef’s kiss.