Actress Judith Godrèche, who has become the spearhead of condemnation of sexual violence in French cinema, denounced the “level of impunity, denial and privilege” in the industry and received a standing ovation on the César stage in Paris on Friday.
“Why accept that this art that binds us is used as a cover for the illegal trafficking of young girls?” asked the woman who spoke out on the issue and filed a complaint against directors Benoît Jacquot and Jacques Doillon for sexual and physical violence during his youth, which they deny.
“You have to be careful of little girls, they touch the bottom of the pool, get hurt but jump back,” she added, urging victims to “believe.”
The ceremony comes amid great tension and victims of gender-based and sexual violence hope it marks a milestone. The question came up immediately in the opening remarks of the ceremony's president, Valérie Lemercier.
“I will not leave this phase without praising those who are shaking up the habits and customs of a very ancient world in which the bodies of some were tacitly at the disposal of the bodies of others,” explained the latter.
Just as symbolically, the Academy awarded its first-ever award, the César for Best Supporting Actress, to Adèle Exarchopoulos, because I will always see your faces, in which she plays an incest victim.
Before the ceremony, at the call of the CGT, around a hundred people demonstrated in front of the Olympia to support the words of the victims. “All together we can really help things change and create a truly better world,” said actress Anna Mouglalis, who accused directors Philippe Garrel and Jacques Doillon of sexually abusing her.
Full speech
Here is the full speech by Judith Godrèche, flag bearer of MeToo in France, during the 49th César ceremony:
“It is complicated to stand in front of all of you tonight. There are so many of you, but deep down I imagine it had to happen face to face, at eye level. Many of you have watched me grow up. It is impressive. It marks.
Basically, I didn't know anything other than cinema. To calm myself down on the way, I made up a little lullaby. Arms tight, it's you. All little girls are silent, my neck, my bowed neck, it's you.
All the children are silent. My shaky legs are you. The young men who couldn't defend themselves. My trembling mouth that also smiles is you. My unknown sisters.
After all, I too am a crowd, a crowd before you. A crowd looking you in the eye tonight. It's a fun time for us, isn't it?
A ghost from America who comes to kick down the armored door. Who would have believed that? Words have been loosening up for some time now. The image of our idealized fathers is being damaged.
The power almost seems to fluctuate. Would it be possible that we could face the truth, accept our responsibilities and be the actors, actresses of a universe that questions itself?
I've been talking for a while, I'm talking, but I can't hear you. Or barely. Where are you ? What do you say ? A whisper, half a word. That would be it, said Little Red Riding Hood.
I know it's scary: losing scholarships, losing roles, losing your job. I'm afraid, too. I left school at fifteen. I don't have a high school diploma, nothing. It would be complicated to be blacklisted from everything. That wouldn't be funny. I wander the streets of Paris in my hamster costume and dream of myself as an +icon of French cinema+ (title of his series, editor's note)…
In my rebellion, I thought of these terms we use on a set: silence, engine requested.
Silence has been my driving force for thirty years. Yet I imagine the incredible melody we could compose together, made of truth. It wouldn't hurt, I promise.
Just a scratch on the carcass of our curious family. It's nothing compared to a punch in the nose, to a child being stormed like a city under siege by an all-powerful adult under the silent gaze of a team.
A director who drags me to his bed whispering under the pretense of needing to understand who I really am. So it's nothing compared to 45 shots with two disgusting hands on my fifteen year old breasts…
Cinema consists of our desire for truth, films watch us as much as we watch them. It's also based on our need for humanity, right?
So why accept that this art that we love so much, this art that unites us, is being used as a cover for the illegal trafficking of young girls?
Because, you know, this loneliness affects me, but it also affects thousands in our society. And it's in your hands.
We are on the front lines, at the beginning of a new day. We can decide that men accused of rape cannot cause a stir in the cinema. That sets the tone, as they say.
We cannot ignore the truth because it is not about our child, our son, our daughter. We cannot be at such a level of impunity, denial and privilege that morality goes over our heads.
We also have to be a role model.
Don't think that I'm talking to you about my past, my past that won't go away. My past is also the present of the 2,000 people who sent me their testimonies in four days.
It is also the future of all those who have not yet had the strength to become their own witness. You know, to believe yourself, you still have to believe.
The world is watching us. We travel with our films. We are lucky to be in a country where freedom seems to reign. So, with the same moral strength with which we create, let us have the courage to say out loud what we know silently.
Let's not play heroines on screen only to hide in the forest in real life. Let's not give revolutionary or humanist heroes the chance to get up in the morning knowing that a director mistreated a young actress and saying nothing.
Thank you for giving me the opportunity to put on my cloak and penetrate you a little tonight. You have to be careful with little girls. They hit the bottom of the pool, they bump, they get hurt, but they bounce back.
The little girls are punks who come back dressed as hamsters and to dream of a possible revolution, they like to repeat this dialogue from Céline and Julie go on a boat (film by Jacques Rivette, published in 1974, editor's note).
Céline: Once upon a time. Julie: It was twice. It was three times. Céline, it was clear that this time it wouldn't happen like that, not like the other times. THANKS”.