“We always reward rapists”: why Adèle Haenel chose to move away from the cinema

Absent from filming since her triumphant exit at the 45th Cesar ceremony, Adèle Haenel addresses the reason for her estrangement. Sexism, oppressive system, the actress confided in an Italian media.

I’m done with the cinema”. These are the words of theFrench actress Adele Haenelholder of two César (Susanna in 2014 and The Fighters in 2018), in the columns of the italian newspaper II Manifesto, on April 29. Emblematic personality of the #MeToo movement and figure in the fight against gender-based and sexual violence in the cinema, the French actress spoke about the world of the 7th art and his decision to leave. The one who had reacted following her departure during the Césars ceremony in 2020 for protest against the coronation of Roman Polanski hadn’t appeared on the big screen for two years.

In this interview, actress and activist denounces the behavior of certain directors towards women. “In the film industry as it is today, there is no hope. We see it with women. They use one or two to hide this oppressive system. You just have to look at the Cannes selection. They say they are fighting against sexism, but in reality nothing has changed. Those in power continue to oppress us. We always reward rapists. And they want me to shut up? It will never happen,” she says.

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The actress even adds that she “will no longer work with established directors, but only with new artists who are starting out”. With the close exception of director Céline Sciamma, who has accompanied her since her debut. The two women have indeed already collaborated during the filming of the moving Portrait of the girl on fire and of birth of octopuses. “Our relationship goes beyond work, but it will have to be in another economic system”, explains the interpreter of Madeleine in The fighters.

Figure of #MeToo

Very committed, Adèle Haenel wishes to devote most of her time “to listening to and helping victims of abuse”. In 2019, Mediapart revealed that the young woman, a minor at the time, had also been the victim of sexual abuse. The young actress had accused director Christophe Ruggia of touching and sexual harassment.

Activist on one side and actress on the otherit is still possible to see the French actress tread the boards in the theater, in the play The Pond by Gisele Vienne.

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“We always reward rapists”: why Adèle Haenel chose to move away from the cinema