French cinema is under pressure. Not because of a decline in the number of viewers or artistic debates, but because of a question long hidden behind red curtains, the glitter of festivals, and big names: sexual violence and abuses of power in the film industry.
Actress Sara Forestier is now one of the most prominent voices of the #MeToo movement in France. With uncommon frankness, she demands an end to impunity from politicians and the industry itself. Her words touch a sensitive point – and in a significant way.
During her hearing before a parliamentary inquiry commission in late 2024, Forestier already recounted experiences that shocked many observers. She spoke about humiliations on sets, violence, and situations that left her almost speechless when she was a young actress. Even more explosive: after an incident during filming, she was allegedly advised not to file a complaint. The economic harm to the production was considered more important than her protection. A phrase that resonates like a punch.
Since then, a common thread runs through the French cultural scene. More and more actresses are publicly testifying about experiences that were previously discussed discreetly. Names like Judith Godrèche or Adèle Haenel no longer only shape cinema but also social debate in France.
The inquiry commission led by politician Sandrine Rousseau ultimately described a system marked by dependencies for decades. Young actresses, freelance collaborators, interns – many remained silent for fear of losing their careers. Those who opposed often risked more than just a role. In the film industry, things like this are known very quickly.
The report published by the commission goes even further. It speaks of a “systemic nature” of sexual and sexist violence in the cultural sector. This is not just a political slogan. It means that the problems are no longer seen as isolated cases, but as part of a structure.
And this is precisely where the real conflict begins.
While many cultural actors call for profound reforms, others react with vehement refusal. Some directors and producers warn against an alleged “witch hunt.” Others accuse the profession of having deliberately closed its eyes for decades. A deep divide has now emerged between these camps.
Forestier is therefore not only demanding legal consequences. His appeal is also addressed to production companies and film associations. It concerns better protection for minors, clear complaint channels, intimacy coordinators on sets, and more responsibilities for producers. Topics that, after the Weinstein scandal, have already become standard in Hollywood but continue to spark debates in French cinema.
France may thus be experiencing a cultural turning point. Traditional auteur cinema, often proud of its transgressions and artistic freedom, must suddenly accept new rules. Some see this as a necessary modernization, others as an attack on an entire culture.
But one thing seems clear: the silence that, for many years, hung like a thick curtain over the profession is increasingly tearing apart. And this curtain is now difficult to close again.
Andreas M. B.