The trial of Gerard Depardieu was a harrowing spectacle, blending farce with tragedy in equal measure. As France confronted its own #MeToo reckoning and a parliamentary panel delved into abuse and violence against women within the nation's arts sector, the country's most celebrated film star stood trial in a Parisian courtroom last week. He faced accusations of sexually assaulting two women on the set of the movie "Les Volets verts" (The Green Shutters) in 2021.
The tragedy unfolded through the women's harrowing testimonies. A set decorator recounted how Depardieu pinned her between his legs and groped her, while an assistant director detailed numerous instances where the actor touched her breasts, buttocks, and genitalia. The farce, however, emerged from Depardieu's courtroom demeanor. In his testimony, the 76-year-old actor seemed to embody a caricature of toxic masculinity, confessing to shouting vulgarities like "Dick!" and "Pussy!" on set, and "joking" about the heat being so intense that he couldn't even get an erection. He dismissed his actions as innocent childlike phrases akin to "wee wee, poo poo," offensive only to those in this politically correct "new world."
Depardieu's defense — he vehemently denied all charges — at one point rested on his advancing age and considerable weight. He argued that at "76 years old and 150 kilos (330 lbs)," he was physically incapable of engaging in inappropriate behavior with female colleagues. When allegedly grabbing a woman by the hips, he claimed it was merely to prevent himself from slipping. His belly, he said, was too庞大 to pull a woman "between my thighs."
Depardieu professed his love for women but decried the #MeToo movement as "a terror," citing the case of Roman Polanski, the Polish-born director who fled the U.S. for France decades ago after pleading guilty to statutory rape of a 13-year-old.
Depardieu's schtick — his public persona as a rough, working-class brute — was on full display. This rude charm, a stark contrast to his refined Parisian contemporaries, had propelled him to stardom in French cinema during the late '70s, with roles in films like Bertrand Blier's "Going Places" (1974). It skyrocketed him to international fame with Bernardo Bertolucci's "1900" (1976), Jean-Paul Rappeneau's "Cyrano de Bergerac" (1990), and Peter Weir's "Green Card" (1991), the latter earning him an Oscar nomination for Best Actor. However, as assault allegations piled up against him, his iconic persona began to wear thin.
The prosecution presented multiple witnesses who testified to similar abuse perpetuated by the veteran actor, who boasts over 200 screen credits. A costume designer recounted an incident on a film set in 2014 where, while adjusting a cape Depardieu was wearing, he "shoved me behind curtains, put his hands on my underwear, my tights, my groin, my breasts," saying, "You know who I am. Let it happen. I'm an actor, I've got the right." When senior production members were informed, the designer claimed they chose to ignore the incident, dismissing her concerns as a mere "little costume girl."
A 30-year-old actress, who once shared the screen with Gérard Depardieu in the French Netflix series Marseille, recounted to the court a harrowing tale of abuse, asserting that "everyone was aware" of his notorious misconduct. She accused Depardieu of suddenly thrusting his hand into her shorts and underwear on set. When she forcefully rejected him, he purportedly remarked, "What? I thought you aspired to succeed in cinema," she alleged tearfully.
Depardieu's character was defended by none other than Fanny Ardant, a renowned actress (known for roles in films like 8 Women) and a long-standing colleague and friend. Ardant, testifying on his behalf, vowed that she had "never witnessed any behavior from Depardieu that I found remotely shocking." Her threshold for what constitutes shocking seemed exceptionally high. She even admitted experiencing similar incidents to those Depardieu was accused of, stating, "As a woman myself, I've been slapped and insulted. I comprehend that you have the capacity to decline, Gérard." However, she conceded, "Times have changed, society has evolved, and our standards are no longer the same. What we once tolerated is now unacceptable."
In his closing remarks, the state prosecutor severely condemned Depardieu for his "utter denial and failure to self-reflect." A trio of judges will render their verdict on May 13, a date that coincides with the opening day of the prestigious Cannes Film Festival. The prosecution has requested an 18-month suspended prison sentence for Depardieu. He could potentially face a maximum penalty of five years behind bars and a fine of up to €75,000 ($81,000).
This trial marks neither the first nor the last time Depardieu has faced charges of sexual violence in court. French actress Charlotte Arnould, who was present at last week's proceedings, has accused Depardieu of raping her twice in his luxurious mansion in 2018. This case remains ongoing, amidst several other sexual assault complaints looming over him. Over 20 women have openly accused him of sexual violence, either through the press or in court. Depardieu has steadfastly denied all allegations.
Depardieu's trial is merely the latest installment in a string of #MeToo scandals and legal battles that have sent shockwaves through the French film industry in recent years, ushering in a long-overdue transformation for many professionals in the sector.
Back in 2017, inspired by the allegations against Harvey Weinstein, journalist Sandra Muller coined the hashtag #BalanceTonPorc (#SquealOnYourPig) to introduce the #MeToo movement to France. However, her call was met with fierce opposition from seasoned French celebrities like Catherine Deneuve. In an op-ed published in Le Monde, Deneuve defended the "freedom to flirt, which is crucial for sexual freedom." The article was endorsed by 100 other prominent women, encompassing actresses, directors, writers, and artists.
Undoubtedly, the movement began to grip the industry with unyielding force. From 2020 onwards, the Centre National du Cinéma et de l'Image Animée (CNC), which continues to be the largest public funding body for French cinema, enforced regulations mandating that any production receiving its financial support must adhere to new measures aimed at eradicating "sexism and sexual harassment." Producers seeking CNC funding were compelled to undergo training sessions focused on addressing inappropriate conduct on film sets, while a specialized legal and psychological committee was established to support victims.
During the César Awards ceremony in February of that year, actress Adèle Haenel made a dramatic exit to protest the awarding of the Best Director prize to Roman Polanski for "An Officer and a Spy." Prior to this, she had accused director Christophe Ruggia of sexually assaulting her when she was a teenager after starring in his 2002 film "Devils." The Paris criminal court sentenced Ruggia to four years in prison, with two years of home detention, just the previous month.
Haenel, young, vocal, and steadfast in her refusal to work in what she deemed an abusive industry—her last film credit being Céline Sciamma's "Portrait of a Lady on Fire," released in 2019—became an early and prominent figurehead of the French cinema's #MeToo movement. Other actresses followed suit, notably Judith Godrèche, who accused seasoned directors Jacques Doillon and Benoît Jacquot of raping her when she was 15. (Godrèche was also among the 93 women who accused Harvey Weinstein of sexual assault.) The 53-year-old actress emerged as another spokesperson for the movement, frequently appearing in the media and directing a short film titled "Me Too," which premiered at Cannes the previous year.
Even the CNC was not spared from the #MeToo tide that swept through the industry. In 2021, its acting president Dominique Boutonnat was accused of attempted rape and sexual assault by his 22-year-old godson. He received a three-year prison sentence (with two years suspended) in February of the following year and immediately resigned from his position.
The new rules and conventions have started to reshape the landscape of an industry where abusive behavior often went unchecked. A recent example is the 2023 shoot of the legal drama "Je le jure" (I Swear It), directed by Samuel Theis, who co-starred in "Anatomy of a Fall." After a grip accused Theis of sexual assault during a party, he was banned from the set and had to complete the rest of the film via Zoom. Although a judge later declined to indict the director, placing him under the status of "témoin assisté" (somewhere between a witness and a suspect), the producers boasted about the "safe space" they created for the rest of the crew to ensure the film's completion.
In October 2024, a parliamentary commission was formed to investigate violence in the film, theater, fashion, and advertising industries. Led by Ecologist Group MP Sandrine Rousseau, it will release its initial report on April 9. Interviewed by HuffPost at the conclusion of Depardieu's trial, Rousseau lamented the actor's courtroom demeanor: "He's an ogre playing a part," she remarked. "And he's a good actor; you can't deny that. Suddenly, when faced with his victims, he transforms into a fragile and vulnerable being."
Depardieu remains the most prominent French cinema figure to face court proceedings in the wake of the #MeToo movement. The fact that he was convicted for actions that, just a few years ago, might have been overlooked by producers eager to capitalize on his fame, underscores how far the industry has progressed in a relatively short span. Nobody was particularly surprised by the trial of someone renowned for his unrestrained hedonism, vulgar language, and poor manners. What was astonishing was how such an A-list star—undoubtedly the biggest name to ever grace the French screen—was compelled to publicly account for his treatment of two female staff members who worked behind the scenes. If anything, the Depardieu trial exemplified a long-awaited and welcome shift in power within the French film industry.
