When she was young, Agnès Jaoui took drama classes (Cours Florent) and music courses (conservatory of Enghein) and, from 1984, courses at the ‘Théâtre des Amandiers’ of Nanterre, directed – at the time – by Patrice Chéreau. At that time, Agnès Jaoui already
appeared on the cinema screens in Le Faucon (1983, Paul Boujenah) when she started to shoot her second film with Patrice Chéreau’s entire troupe and under his direction in Hôtel de France in 1987. That same year, she met her future companion and co-worker Jean-Pierre Bacri.
Together, they wrote a first play Cuisine & Dépendances which obtained such a success that it was then adapted to the cinema (Philippe Muyl). The general audience then discovered them
in 1996 with the adaptation by Cédric Klapisch of their second play, Un air de famille. The Bacri-Jaoui style was now famous and the film was rewarded… by the ‘César for Best Screenplay’. The actress Agnès Jaoui was also distinguished, thanks to her nomination for
Best Supporting Actress at the César Awards. After signing in 1993 the script of Smoking/No Smoking, the couple was again solicited by Alain Resnais in 1997 to write, but also to perform, his choral comedy On connaît la chanson. While going on playing alone in a few films (Le Cousin d’Alain Corneau, 1998), Agnès Jaoui headlined a first role – for the first time in her career – in Une femme d’extérieur (1999, Christophe Blanc).
The year 2000 marked her successful transition to direction with Le goût des autres, still written with Jean-Pierre Bacri.
Agnès Jaoui shared her main activity between her acting profession (24 heures de la vie d’une femme (Laurent Bounik), Le rôle de sa vie (François
Favrat), La maison de Nina (Richard Dembo), Du vent dans mes mollets (Carine Tardieu), Comme un avion (Bruno Podalydes), Aurore (Blandine Lenoir), Les bonnes intentions (Gilles Legrand) … and as director/scriptwriter (Comme une image, Parlez-moi de
la pluie, Au bout du conte, and more recently Place publique).
During all these years, Agnès Jaoui did not stop her musical activities (with her vocal ensemble ‘Canto allègre’, or her Latin group ‘Le Quintet officiel’, but did it for her own pleasure, & in churches and in bars. It is only around the 2000s that the audiences discovered her as a true singer.
Awarded with a ‘César for Best Supporting Actress’ for the film On connaît la chanson, four ‘Césars for Best Original Screenplay or Adaptation’ and one ‘César for Best Film’ with Le goût des autres, Agnès Jaoui is the woman who has been the most awarded at the Césars.