If it is true that cinema can, better than other major arts, sell dreams and stimulate the imagination, it would still take a good dose of credulity to adhere to a scenario about an evil billionaire (necessarily very-very evil) who would be copiously insult but would continue without flinching to shower millions of euros on those who trample on him. And it would take a good dose of naivety to be surprised that the nice artists (necessarily very, very nice) who want to mobilize against the “crypto-fascism” of their financier, find themselves deprived of the money of the hated reactionary.
However, this is the story that a part of the cinema world mobilized against Vincent Bolloré, the leading financier of French film through Canal+, would like to impose. Fighting against his ideas as an “extreme right boss”, but not against his euros. The billionaire’s designs are dirty, but his money is clean.
Everyone is free to hate the ideas of Vincent Bolloré, to petition against his “fascist takeover of the collective imagination” through his presence in the entire cinema production chain. But, apart from the fact that the hundreds of films produced by Canal+ demonstrate, on the contrary, real diversity and contradict any claim of ideological activism, the freedom is also, for the producer, that of closing the cash tap to those who reject its presence in the credits.
For a long time, French cinema resisted the American surge by relying on multiple sources of financing, public and private, generous but fragile. Thanks to this complex editing, he was able to bring to life films whose only criterion of existence was not success with the general public, but contribution to the best of the seventh art. Wanting to introduce into this complex alchemy a label of political “right-thinking” would be a crazy risk.
/t:r(unknown)/filters:format(jpeg)/medias/Vsj0LZpM34/image/HM_8406_jpeg1779109182869.jpg "Loiret Sports Trophies 2026: the nominees are now known!")
