Post-MeToo France faces crucial test with Gérard Depardieu's sexual assault trial
Gérard Depardieu, France's most famous male actor, will face not just two women who accuse him of sexual assault but also a nation long criticised for ignoring abuse by powerful figures when his trial begins on Monday.
The 76-year-old actor is accused of assaulting a set dresser and an assistant director during the 2021 filming of Les Volets Verts ('The Green Shutters'). While over 20 women have publicly accused Depardieu of sexual misconduct, this is the first case to make it to trial.
This landmark trial is seen as the most significant post-MeToo case in France, and it raises a key question: is the country, renowned for its culture of seduction, finally prepared to hold its cultural giants accountable?
Prosecutors say Depardieu trapped one of the women with his legs before groping her waist and breasts in front of witnesses. The 54-year-old set dresser described the actor's behaviour in a 2021 interview with investigative outlet Mediapart, recalling how Depardieu shouted that he 'couldn't even get it up' due to the heat, before saying: 'Come and touch my big parasol. I'll stick it in your (nether regions).' She claimed he then grabbed her forcefully and had to be pulled away by bodyguards.
A second woman, a 34-year-old assistant director, alleged she was groped both on set and in the street. As is common in such cases, the plaintiffs' identities have been kept confidential to protect the victims.
Depardieu has denied all accusations. In an open letter published in newspaper Le Figaro in October 2023, he firmly stated: 'Never, but never, have I abused a woman. To think that I have hurt someone or made them feel uncomfortable is intolerable to me.' He added, 'I have only ever been guilty of being too loving, too generous, or of having a temperament that is too strong.'
Depardieu's lawyer, Jérémie Assous, has called the case baseless. He further noted that the actor, who recently underwent a quadruple bypass and suffers from diabetes, would attend the trial, with breaks scheduled to accommodate his health.
In France, a culture slow to confront abuse has made the trial all the more poignant. While Hollywood swiftly fell in the wake of #MeToo, the French film industry took a more reluctant approach. Some dismissed the movement as incompatible with French values, arguing it posed a threat to free expression and the nation's flirtation culture.
Many argue that the fact of Roman Polanski, convicted of unlawful sex with a minor in the US and accused by several other women, being able to continue to live and work in France with little consequence is indicative of the country's broader attitude. His 2020 César Award for Best Director sparked protests, including one from actress Adèle Haenel, who walked out in disgust.
But change may be afoot. In February, director Christophe Ruggia was convicted of sexually abusing Haenel when she was a child. Haenel, who had already quit the film industry in protest, is now a prominent voice in the battle against abuse.
Judith Godrèche, another outspoken figure, has accused directors Benoît Jacquot and Jacques Doillon of sexually exploiting her as a teenager – allegations both men deny.
Even in the face of a changing culture, however, there remains resistance. In 2018, over 100 prominent French women, including actress Catherine Deneuve, signed an open letter in Le Monde defending what they called the 'freedom to bother,' arguing that flirtation should not be equated with harassment.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles

Business Insider
7 hours ago
- Business Insider
Netflix is looking more like the cable model it used to say was doomed
Netflix just made a groundbreaking deal to show a TV network's live and on-demand programming. Starting next summer, people in France will be able to watch content from French TV network TF1, including "The Voice," soaps, and big live sports events. "This is a first-of-its-kind partnership that plays to our strengths of giving audiences the best entertainment alongside the best discovery experience," Greg Peters, co-CEO of Netflix, said in a statement. "By teaming up with France's leading broadcaster we will provide French consumers with even more reasons to come to Netflix every day and to stay with us for all their entertainment." And just like that, Netflix is looking more and more like the cable model it used to say was doomed. It's unclear why Netflix chose France for its first such partnership and if it could signal the start of a broader push. Industry watchers were quick to speculate that more could follow. "I would expect to see these deals crop up in other markets," Ampere Analysis' Guy Bisson said, pointing to the UK as a natural next market. Netflix is far ahead of the paid streamer pack. To keep growing, it has to continually unlock new kinds of content that keep subscribers sticking around. That's why it has moved into live sports and other events, as well as kids' shows and games. But it has never signed a deal for live TV channels, and the TF1 partnership fits Netflix's goal of being a one-stop entertainment shop. It also feeds its advertising ambitions. Netflix is leaning on ads for its next phase of growth, and advertisers place a high value on live audiences because they're seen as more attentive. Netflix's ad tier reaches 94 million monthly active users, according to the company. All in, it has more than 300 million paid subscribers. There's also an upside for cable and linear TV broadcasters in partnering with Netflix. Their audiences are waning, and Netflix and other tech platforms can connect them to more viewers. TF1 is free to air in France, so being on Netflix doesn't cannibalize subscription revenue, though it could jeopardize the broadcaster's standing with advertisers by distributing on a platform it doesn't control. TV networks' partnership with tech platforms has taken other forms, as well. Media companies in the US, needing short-term revenue, have long licensed their shows to Netflix, for example. TV companies have also put full episodes of shows on YouTube as they look for new sources of revenue and viewers. Streaming industry analyst Dan Rayburn said the TF1 deal won't likely be replicated in the US anytime soon, however. US TV companies like Disney and Paramount are invested in their own streamers. Comcast and Warner Bros. Discovery 's cable networks are soon to be out there on their own as their parent companies prepare to spin them off, but he doubted either are big enough to be interesting to Netflix.


Eater
8 hours ago
- Eater
Frenchette Team Is Opening a Restaurant Inside A24's West Village Theater
Historic New York City theater Cherry Lane Theatre is getting ready to reopen — now in the hands of film studio A24, behind recent films like the Materialists and Babygirl . The intent, according to news that first circulated in 2023 about the company purchasing the theater, was to turn it into a clubhouse of sorts for events, performances, as well as film screenings. A cool concession stand would make sense at any new theater, especially one with as savvy a marketing team as the one at A24. This year, A24 released its own line of chocolate bars — the synergy is already there. Community board filings show that the film studio is taking it a step further, working to open a lobby restaurant and bar. It appears to be in collaboration with Galactus Group LLC, affiliated with Riad Nasr and Lee Hanson, two of New York's biggest restaurateurs, known for Frenchette, Le Rock, and most recently, Le Veau D'Or. The latter in particular showcases their commitment to honoring a space's past, where they relaunched one of the oldest French bistros in New York. It wouldn't be the team's first time working in a cultural center, either: they also opened Frenchette Bakery inside the Whitney Museum. A source close to the restaurant confirmed that the project — a new hospitality concept — is underway and looking at a fall opening. A 2023 liquor authority application for the Cherry Lane Theatre listed the dining room seat count at around 60. The theater, located at 38 Commerce Street, has seemingly never had a restaurant, but the space dates back to 1923. It was once known for its counterculture, off-Broadway plays, and has hosted performances from playwrights to musicians and writers — such as Bob Dylan, F. Scott Fitzgerald, Sam Shepard, and David Mamet — but it struggled in its later life. With in-person film attendance dwindling in recent years, others in the industry have made attempts to restore these sacred entertainment spaces. In 2023, Eater LA reported on director Quentin Tarantino's new cafe inside his Vista Theater. That same year, Netflix announced it had purchased the Paris Theater in Midtown. Most recently, HBO's John Wilson is opening Low Cinema in Ridgewood. Eater has reached out to Hanson and Nasr's team and A24, but did not hear back before publishing. See More: Coming Attractions NYC Restaurant Openings
Yahoo
11 hours ago
- Yahoo
‘Each season's got its own sort of flavor': ‘Slow Horses' director on crafting a darker, more emotional chapter
Although it might be intimidating for a director to hop aboard a successful television series a few seasons in, Adam Randall didn't have that problem on Slow Horses. "The speed with which the show is filmed meant that only season one was out when I got the job," he told Gold Derby. "Season 2 was coming out about two weeks later, and Season 3 was when I was already in post [production]. So it hadn't reached the level of success that it was going to [have], but it would still have made a big splash" given its high pedigree and A-list cast. "I was unbelievably excited and definitely intimidated going in." Based solely on what he had seen and read, it was clear to Randall that "each season was very different" and evolving. "They've established a world, they've established these characters, but each season's got its own sort of flavor, plays with genres in different ways, has its own tone. So that was one of the really exciting things, being able to take something from this remarkable world and put a stamp on it," Randall said. And in this case, "We definitely felt that it was a darker season," and every decision he made branched off from that. More from GoldDerby Tom Cruise finally gets his (honorary) Oscar moment: Here's his complete awards history Alan Cumming would be the 4th person to repeat in Best Reality Host: See fresh Emmy odds Dolly Parton adds honorary Oscar to her trophy shelf: A look back at her legendary awards history Season 4 of Slow Horses was "heavier emotionally, and in a way, it was the first season that was genuinely emotional," considering it dealt with, among other things, retired MI5 officer David Cartwright's (Jonathan Pryce) decline into dementia and the effect it has on his grandson, River (Jack Lowden). Combined with the inciting terrorist attack in Episode 1 and Frank's (Hugo Weaving) "bizarre" story set at a French compound "allowed for a much darker, heavier visual palette and score." There were even "elements of horror in there" in its portrayal of David's decline, "as well as the thriller elements," but also "the comedy and the drama that people love" from previous seasons. Slow Horses was Randall's first foray into television, as he'd previously only worked in films. Considering he directed all six episodes, "it was a very easy transition, because in effect these are six-hour movies." That was mandated from the beginning by Gary Oldman, who stars as crotchety MI5 agent Jackson Lamb. "That was one of the things that he was adamant about, that he wanted one director for all six [episodes] and to treat them like a movie." Because of this, "the show was allowed to be very director-led," Randall explains, "so once I figured out the lay of the land," he realized it was "very similar to a film, and I could push it in certain directions and think about it from start to finish." He gives due credit to lead writer Will Smith, who is "the loveliest man on earth, as well as incredibly talented and very, very funny." The two had actually met years prior because, Randall reveals, "he was in a short film I'd directed a long time ago that no one should ever see," even though, "Will was good in it, and it was lovely meeting him through it." Although the scripts Smith had written "were already great," Randall was able to bring in his own "had thoughts and ideas," especially when it came to the action sequences. "They just have to evolve and change, and he was always really open and allowed me a lot of freedom." SEE Gary Oldman on 'Slow Horses' being 'an extraordinary show to work on' and 'one of the highlights of my career' That collaborative spirit extended to his relationship with the cast. "It's interesting with this, because obviously most of them have done three seasons, so in some ways I was catching up," Randall divulges. "I was asking them about their characters," and also "what they wanted to achieve in season four." Although he'd rehearse certain scenes before filming, his directorial technique "really depends on the actor. Some actors like to keep it very fresh on the day, some actors like to talk in a lot of detail about everything, from the props they may be holding to their intention in a scene." When they arrived on set, "we'd just be very loose and play," coming up with new ideas on the day. "The one thing with those actors is how remarkable they already are," Randall continues. Whereas in "some of my previous work" he had to "try to find the performance," in Slow Horses, "it was already of such a standard that had I have not turned up it still would've been a great scene. So you're not trying to find the performance, you're trying to find what else can we bring? What other nuances can we bring? How can we play? Can we bring out any humor here? Is there any more we can push it towards?" It helped that "we also had a lot of new cast" who brought "different energies," which allowed the veteran stars "to do very different things this season." Randall submitted the fourth-season final for Emmy consideration, which he admits "was a hard decision." He chose the episode because, "I thought it balanced a lot of the different things that I was really proud of." For one thing, "it was the most emotional episode" for all of the characters, especially River and David. There was also "a lot of action, which we were really proud of, and we were bold in how we did it." The finale "was a way of weaving all of these different elements together, telling all of these different character's stories, holding this emotion in a way" that still feels in keeping with the rest of the series. It was "a huge challenge," yet the result was "an hour of drama that I'm really proud of." As Season 5 is set to premiere in September, Randall is already in post-production on Season 6, although true to the art of spy-craft, he's keeping tight-lipped about any details. "I definitely can't share details, other than I'm really, really proud of it," he reveals. "It takes this show to new places. It's a big, dramatic, and emotional season, and I'm very excited about it." Slow Horses is streaming on Apple TV+. Best of GoldDerby 'It was wonderful to be on that ride': Christian Slater talks his beloved roles, from cult classics ('Heathers,' 'True Romance') to TV hits ('Mr. Robot,' 'Dexter: Original Sin') Sam Rockwell on Frank's 'White Lotus' backstory, Woody Harrelson's influence, and going all in on 'this arc of Buddhist to Bad Lieutenant' Asif Ali and Saagar Shaikh admit they 'never had the audacity to realize' a show like 'Deli Boys' was possible Click here to read the full article.