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The downside of French Cinema is a bizarre comedy following a French movie star who comes back to Paris after ten years in Los Angeles, anticipating a triumphant return, but instead finds herself cast as a singing hamster. This show has become the most popular streaming success in France this year, causing heated discussions about the French film industry’s failure to address the #MeToo movement. Through flashbacks, it also reveals a darker, personal story about how Judith Godrèche, the show’s creator, director, and lead actress, was manipulated at 14 years old in the 1980s by one of France’s renowned directors.
Godrèche, who has returned to Paris, explains, “I felt compelled to share this story for future generations. My daughter, who was 15 at the time, was attending an arts school in LA as a dancer and actor. Seeing her in her leotard sparked a fear in me. I realized that I never want her to experience what I did. This story is for her and all other young girls.”
Instances in which Godrèche’s character, who is only 14 years old, is continuously provided alcohol by adults during a film awards dinner until she loses consciousness, or is yelled at, or forced to remove her top on set, have caused the series to become a word-of-mouth sensation and sparked introspection in France. According to Godrèche, she had no support from individuals in the industry when she was a teenager; no adults ever intervened. “None, absolutely none. And they are still keeping quiet,” she reveals. “Those who are still working in this industry have yet to speak up. I am not looking to seek revenge, but one would expect some empathy… It’s strange for everyone that I am now speaking out and sharing this story. The code of silence in the industry is still incredibly strong.”
Godrèche, who was born in Paris, began her acting career at the age of nine while living with her father after her parents’ separation. At the age of 14, she was chosen to star in Les Mendiants, a film directed by the renowned arthouse director Benoît Jacquot, who was 40 years old at the time. They soon became romantically involved and their relationship was highly publicized in the media. Godrèche recalls being heavily influenced by the French film industry and journalists, with magazines in the 1980s capturing photos of them together at events and portraying their relationship as a passionate love affair between an older man and a teenage girl. However, she was able to break away from this spotlight at the age of 20. Jacquot’s agent declined to comment on the matter.
Godrèche intentionally did not mention Jacquot in her series. She believed that it was important for the subject to be explored fully and not just reduced to a singular story about him. Her series aims to shed light on a larger system and she felt that naming Jacquot would overshadow the true purpose of her work, which was to fully embrace her voice as a writer.
However, the success of Icon of French Cinema – a collaboration between A24, a US studio, and Arté, a French-German channel – brought about change. It struck a chord during a time of painful realization in France regarding the exploitation of teenage girls by older men in the arts. The popular movie was adapted from Vanessa Springora’s 2019 book, Consent, which recounts her experience of being groomed at the age of 14 by writer Gabriel Matzneff, who was 50 at the time, in the 1980s. As a result, Matzneff is currently under investigation by Paris prosecutors for the rape of minors. Adèle Haenel, who started her acting career as a child, announced last year that she was leaving the French film industry due to its overall complacency towards sexual predators.
Godrèche has been inundated with numerous letters from women who related to her experience. These women expressed that they too were from the same generation and when they were approached by older men as teenagers, they believed it was acceptable because they wanted to emulate her. They saw her as a stunning and glamorous figure through her movies. This sense of responsibility weighed heavily on Godrèche, as she realized that her actions may have influenced other young girls to view such behavior as normal and acceptable. She felt a deep sense of guilt.
In the beginning of this month, Godrèche received a URL to a television program from 2011 where Jacquot discussed their romantic involvement. Jacquot claimed that the younger Godrèche was uninterested and excited by their age gap. He also mentioned that the film industry looked up to him for being in this relationship, which he found gratifying.
Godrèche revealed on social media that she had named Jacquot. She expressed that she could no longer keep this name a secret, stating, “The child in me cannot remain silent any longer.”
According to Godrèche, while watching the documentary, she experienced physical symptoms such as trembling and vomiting. She also felt overwhelming feelings of disgust and anger, leading her to realize why she had left France. She questioned how the documentary could have been aired in 2011.
In 2017, she bravely came forward to the New York Times to share her experience with film producer Harvey Weinstein. She recounted being assaulted by him at the Cannes film festival when she was 26 years old. Last year, Weinstein was found guilty of rape and sexual assault in LA.
However, there are still many who believe that the tightly-knit community of French arthouse cinema has not fully addressed the #MeToo movement. Last month, feminists expressed anger after French president Emmanuel Macron referred to actor Gérard Depardieu, who is currently being investigated for rape and facing criticism for sexist remarks, as a victim of a “manhunt”. Depardieu has denied all accusations.
The series created by Godrèche is expected to be available for purchase globally. She expresses her desire for it to be more widely distributed, rather than being limited to France. She believes it is important for the series to be exposed and viewed by other audiences. She credits the inspiration for the series to the #MeToo movement in America, specifically the events surrounding Harvey Weinstein. This gave her the idea that the series could be produced. The impact of the movement in the US resonated with her and gave her the courage to create the series.
Unfortunately, the tale of her upbringing has struck a chord with viewers. “I hope it can provide support to those who feel isolated or burdened like I do. Throughout my life, I have strived to break free from this aspect of my past and learn to rely on myself for validation, rather than seeking it from him and the influential circles he belongs to. One of my greatest worries was receiving negative critiques from the publications that have elevated him to a deity.”
Alma Struve, the 14-year-old actress portraying the young Godrèche, was taken aback by a particular scene that required her to remove her shirt and kiss an older director multiple times. She expressed surprise that this type of situation could actually occur. In response, Godrèche commented that it was intriguing to witness her reaction.
Struve did not change her outfit because there was a stand-in and a consultant for intimate scenes. Godrèche reflects, “During my time, I was not able to talk to anyone. No one ever checked in to ask if I was alright. I find it impressive what is now deemed possible.”
The TV show alternates between two time periods – luxurious present-day Paris and a grittier 1980s France – and has been praised for its slightly absurd and delightfully self-deprecating style. In the present-day scenes, Godrèche deliberately captures a romanticized version of Paris that she longs for while living in the US. British comedian and writer Liz Kingsman plays Godrèche’s agent, and the two messily devour large amounts of food in several restaurant scenes. “I wanted to be honest,” Godrèche explains. “I want to fully indulge in the cake, not just take a small bite and deliver my line. There’s a sensuality to it. Let’s not shy away from who we are, our desires, or our mistakes, or from having needs in this patriarchal world where we’re constantly shrinking ourselves. Let’s not be afraid to take up space and have a voice!”
The present-day clothing choices are excessively exaggerated. “You may question, ‘Why is she wearing such extravagant attire on this minuscule boat, as if she’s in Gone with the Wind?'” Godrèche explains. The side story involving a Filipino housekeeper and its surprising conclusion is based on a real-life event, and the role is portrayed by Godrèche’s former housekeeper.
Godrèche’s daughter, Tess Barthélemy, portrays her character’s daughter in the show. However, she was unaware of her mother’s personal story until now. “I have carried this guilt with me for my entire life, and it’s a story that I never shared with my children,” Godrèche reveals.
Grooming is complex and needs to be unpicked, she says. “These people usually come to you as protectors. They become a parental figure – in the show you see her going from her dad to this director. I wanted to show a young girl who you see with her father, and then a man the same age as her father. Her mother’s not around, there’s some sort of dysfunctionality.”
The main character in the series, who is a 50-year-old movie star, navigates through modern life with a sense of ease. “She never had a chance to experience childhood – there’s a part of her that never matured. People would tell me, ‘You had to grow up very quickly.’ But it was more like being forced into adulthood by your life experiences, society, and the way others treated you. That doesn’t necessarily mean you truly became an adult, or that you ever truly felt like one.”
Godrèche is optimistic that the positive response from French audiences will extend globally. She expresses her admiration for the strong sense of sisterhood present.
Source: theguardian.com
