Gaetan Bruel, recently appointed as president of CNC (French National Film Board), has assumed his role at a pivotal moment for the film industry. One of Bruel’s objectives is to enhance France’s global reputation and increase the number of international film productions within the country. However, like many in the European film industry, Bruel has been grappling with Trump’s concerning statements as U.S. President, suggesting a 100% tariff on films produced outside the United States.
For over four years, from 2019 to 2023, Bruel, a 37-year old executive, served as the head of French Cultural Services, a division of the French Embassy spread across nine American cities. During this time, he collaborated closely with the CNC, fostering French talent and promoting the audiovisual sector in the U.S. He also played a significant role in establishing Villa Albertine, a residency program for creative individuals from France, based in the United States.
At the start of the Cannes Film Festival, where Amelie Bonnin’s movie “Leave One Day” is premiering, French filmmaker Bruel spoke with EbMaster. He responded to Donald Trump’s statements and highlighted that European cinema makes up only 1% of theater admissions in the U.S., while American cinema accounts for 60% in Europe. Although he didn’t reveal specific strategies for a possible response, Bruel emphasized that France will stay alert and respond if they are impacted. Bruel also addressed Netflix CEO Ted Sarandos’s comment that the traditional movie theater model is outdated, contending that Netflix should instead focus on addressing the challenge posed by social media, which he considers a threat to both streaming services and cinemas. Additionally, he referred to a recent study suggesting that cinema and streaming are no longer separate entities.
In response to the week where Gerard Depardieu received an 18-month suspended sentence for sexual assault, and after the Parliamentary commission uncovered widespread sexual harassment and violence within the French entertainment industry, Bruel spoke out regarding these findings and France’s #MeToo movement. He emphasized several significant steps taken by the National Film Board during the past five years to combat sexual harassment, such as workshops and initiatives promoting gender equality both in front of and behind the cameras. This has been achieved mainly through financial incentives.
What’s your opinion on Donald Trump’s idea of imposing a 100% tax on movies made outside America?
I’d express my thoughts as follows:
From my perspective, I see this situation with a measured approach, and it seems France shares my sentiment. On one side, there’s alignment with President Trump’s earlier statements, showing a clear emphasis on relocating film productions. This is indeed a worry for many nations, including France. The questions on everyone’s mind are: how can we prevent runaway productions? How can we entice more projects our way? We all aim for the same goal.
On the other hand, if this aligns with a broader discourse and strategy on job relocation to the U.S., it contradicts the traditional approach and success of the American film industry. This industry has always been about exporting movies extensively while also producing locally. Let’s avoid limiting our strategic discussion to merely cost-related concerns. Is it feasible for Netflix to produce 100% within the U.S. while retaining 70% of its subscribers outside North America? That’s the conundrum we face today. It’s not simply about avoiding production in the U.S. due to costs; it’s about producing in the U.S. and globally to maintain an industry that remains relevant on a worldwide scale, necessitating local production as well.
Considering the globalized nature of our world, where the U.S. dominates movie exports, it’s intriguing to ponder whether cinema mirrors the confines of an insular perspective. Given that American films make up 60% of European theater viewings while only 1% of U.S. screenings are devoted to European cinema, one might wonder about the potential benefits of a tariff policy like Trump’s proposed plan on foreign movies. At this juncture, we can’t help but feel that such measures could potentially target us. Yet, we remain watchful and prepared to respond if necessary.
Do you feel that Trump’s real intention behind all this is to destroy Hollywood?
Growing up, we were all immersed in American movies. A shared belief between France and the United States is that culture transcends borders, and cinema plays a crucial role in this viewpoint. We’re curious about where Hollywood is headed, and from a European perspective, there’s a genuine hope that the American film industry remains strong because it benefits us too. As one might say, “When Hollywood sneezes, the global movie world catches a cold.” Some believe that the U.S. industry has been facing challenges since before Trump’s return to office. Will the trend of series formats continue until we see “Superman 48” and “X-Men 57”? There’s concern that the traditional studio model may eventually lose its momentum. From our viewpoint, this wouldn’t be favorable news as in today’s interconnected world, we rely on these films and eagerly anticipate Hollywood’s innovative storytelling.
Regardless of whether Trump’s return could potentially boost or harm the U.S. film industry, it’s evident from his initial action that he isn’t prioritizing the interests of our nation’s industry. If this decision materializes, the increased costs and potential retaliation could significantly impact us negatively. It seems that our industry stands to lose a great deal in such a scenario.
As a devoted cinephile, I’ve noticed some transformative shifts in the French film industry. It’s no longer just a picturesque retreat for a post-filming vacation; it has become an alluring destination to produce films as well. Beyond the enticing tax incentives, which already rank among the most attractive with a potential credit of up to 40%, and without any yearly cap on this incentive, there are numerous other compelling reasons that make France an ideal location for cinematic productions.
What about above-the-line costs? Can they be taken into consideration in the eligible expenses?
We’re keeping all options open for the future. Our vision is a world where more films will be produced within the U.S., but Americans will still shoot overseas due to reasons beyond just financial gain. For instance, shooting a movie about Paris or Venice in Las Vegas wouldn’t have the same impact! In this competitive industry, France has significantly improved its advantages and can strengthen its position further. Currently, we aren’t one of the top 10 filming destinations, as the industry primarily focuses on English-speaking countries. However, our French film industry has become global, with teams who have worked on high-end U.S. projects recently. France is thriving because it has transformed rapidly, and we’re still discovering its full potential.
Under President Macron’s leadership, we have invested heavily and quickly to modernize and double our production capacity. This includes studios, backlots, VFX capabilities, virtual production facilities… We even have a fully operational backlot that recreates Paris, just half an hour from the city! When a project comes to France to scout locations, we can easily connect with any cultural institution or local authority to anticipate permissions and explore possibilities. We’re known for suggesting creative ideas because the opportunities are endless! In essence, France serves as a giant film set, with Louis XIV being one of the greatest film set designers of all time! Versailles is a high-end attraction that still holds many secrets, waiting to be revealed to the world for the first time. This is just one example among thousands. What sets us apart is our readiness to provide unprecedented access to unique natural settings and our eagerness to find innovative solutions to make content truly exceptional. I would say there’s no other country that takes the issue of welcoming projects and solving scouting problems as seriously, right up to the highest levels of our government.
What other competitive edge does France have?
As a movie enthusiast, I’ve been captivated by the economic competitiveness, particularly in the realm of film production. It was quite astonishing for my American counterparts when they learned that Coralie Fargeat’s “The Substance” was produced with a budget of $18 million in France, compared to an estimated $70-$80 million it would have cost in the United States.
Just a few years ago, there were challenges with language barriers among the technicians, but we now have a vibrant and fluent new generation who have already contributed significantly to major U.S. projects. We chose to maintain the unique French accent!
Our industries are not just neighboring but intertwined in terms of production and talent. For instance, Neon is actively nurturing Julia Ducourneau’s career with their support for her upcoming film, “Alpha,” which is set to premiere in competition at Cannes. It’s a testament to the collaborative spirit that bridges our industries.
What do you think of the DGA and MPA criticizing the French and European systems?
When nearly two-thirds of European box office revenue is earned by American films, it seems unfair to disregard the fact that Europe has long embraced American cinema with enthusiasm. The allure of American movies persists because we cherish and uphold them. Last year, for instance, 181 million people in France visited cinemas, which is double the number in Germany despite its larger population. This means that an average French person goes to the cinema over three times a year. This widespread preference for American films in France can be attributed to decades of collective effort by public and private entities, driven by a shared belief that access to movies is a matter of democracy. All French citizens should have the opportunity to watch films, including having a theater nearby. As a result of this consensus, about 93.6% of French residents live no more than half an hour from a movie theater, and they typically visit three times a year. Few countries prioritize ensuring that their citizens can easily access American movies in their neighborhoods as much as France does. This model is epitomized by the media chronology system designed to safeguard movie theaters, with Warner and Disney being the top distributors almost every year. To those who question this model, Cinema United president and CEO Michael O’Leary provided a clear response at CinemaCon recently.
What do you think of Ted Sarandos’ statement regarding the cinema that would be “out of fashion”?
Ted Sarandos’ initial statement from the 2010s about the decline of cinema due to streaming has been revised by him since then. Netflix, in France specifically, is actively involved in the film industry. The debate he sparked revolves around the relationship between cinema and streaming in a post-Covid world, particularly in France where data on this subject is quite interesting. In the 2010s, there was some truth to his statement since the rapid growth of streaming came at the expense of the traditional cinema experience. However, we are no longer in a phase of market conquest but rather consolidation. Interestingly, recent studies show that people who subscribe to multiple streaming services are also more likely to frequent cinemas, and vice versa. Moreover, the real competition is shifting from cinema and streaming towards video content on social media platforms, with 57% of Gen-Z preferring this type of content over traditional cinema, streaming, and gaming experiences combined.
In essence, while it appears that streaming services are thriving nowadays, they are simultaneously facing a significant challenge – such as the increasing reluctance to subscribe and the concerning rise of piracy through IPTV. Instead of predicting the demise of cinema, which has been forecasted many times without fulfillment, or suggesting a battle between large and small screens, this is more about acknowledging the common hurdles faced by both cinema and streaming. The task of cultivating a new generation of viewers and redefining our bond with screens and visual media represents the most significant of these challenges.
Regarding the proposed significant changes in French cinema education, I’m curious as to how these updates might impact your situation.
In France, education holds the top priority in our national budget. Since the 19th century, our educational system has emphasized the arts significantly, with two key areas: singing and drawing – these evolved into musical education and visual arts post-World War II. We’re currently focusing on a comprehensive reform to introduce “image education” in schools, with cinema serving as the foundation for this new approach.
What is your reason behind this action? We’ve noticed an intriguing contradiction: despite spending more time than ever on our screens, we’re actually viewing fewer moving images. We’ve reached a new era of visual culture. Images are ubiquitous yet increasingly devoid of meaning, manipulated, and negative. While cinema and TV series have the power to inspire, stimulate curiosity, and educate, social media platforms often use images as tools for control and manipulation. In simpler terms, the moving image, a gift from the 19th century to the 20th that fostered truth and beauty, now seems to be working against itself. To rephrase, we need to help our youth reclaim their screens and cultivate a new relationship with images. This is a challenge for civilization. How can we achieve this? In France, we plan to integrate image education into schools and make cinema the cornerstone of this learning. We already have an extensive program called “Ma classe au cinéma”, which allows 20% of our students (equivalent to K-12, aged 6 to 17) to watch 3 films a year at the cinema. Our aim is to ensure that all students not only watch several films a year at the cinema but also develop a love for cinema, learn about its practice, and thus regain control over their screens.
Essentially, our goal is to elevate France, an exceptional cinematic nation, to global leadership in visual literacy. This presents an opportunity for us to demonstrate the bright future of cinema when we believe in its powerful democratic influence.
Recently, a Parliamentary commission released a report about the entertainment industry in France, revealing that sexual violence and harassment are pervasive issues within these cultural sectors. Here’s my perspective:
In light of this alarming revelation, I find it crucial for us to address these deeply concerning issues head-on. The entertainment industry, like any other sector, should foster a safe and respectful environment where everyone feels valued and protected. It’s disheartening to learn that such problems exist, but it’s also an opportunity for change. We must work together to eradicate sexual violence and harassment, ensuring that our cultural sectors reflect the values of equality, respect, and fairness that we aspire to uphold in France.
The role of cinema has historically been to inspire, yet it has frequently done so at the expense of actions that are no longer tolerated in today’s society. The manner in which a film is produced does indeed matter significantly. I’m referring to the prevalence of sexual and sexist abuse within our societies, not solely confined to the cinema world. These issues exist in all corners of society, but they may find a more permissive environment within the film industry due to factors such as precariousness, passion-driven nature, reputation concerns, and unique filming conditions. This paradox is troubling.
Cultural spaces are supposed to be welcoming, promoting dialogue and respect. It’s distressing to suggest that they foster sexual abuse. However, this paradox arises because cinema holds a mission to serve as an example. If you admire or love cinema and believe in its transformative power, it can be disheartening to witness the exposure of past misconduct within the industry.
This isn’t just an ethical dilemma; it’s also about maintaining public trust. Such behavior is unacceptable not only because of our moral expectations but also because, from a long-term industry perspective, ignoring these issues could lead to disenchantment among the general public.
What has the CNC done to curb sexual violence in the film industry, concretely?
Approximately five years ago, we set a condition for CNC aid that required training in the prevention and mitigation of violence. Over the past five years, we have successfully trained 6,800 business leaders, producers, distributors, and operators, making up 100% of active business leaders in France. As of January, this requirement has been extended to all professionals working on film sets, and we’ve already trained 5,000 people within five months. We are now implementing an extensive awareness-raising program across all our schools, with a focus on gender equality, where progress is still needed. Additionally, employment laws have been revised to introduce new obligations for producers, such as protecting children during filming, regulating intimate scenes, and casting… Thus, the parliamentary committee of inquiry was beneficial as it provided a platform for victims to share their stories and encouraged more people to speak up. It also acknowledged our pioneering efforts five years ago and offered new opportunities to expand and intensify our actions.
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2025-05-14 21:18