{"id":828,"date":"2023-10-05T11:41:07","date_gmt":"2023-10-05T09:41:07","guid":{"rendered":"https:\/\/nosrevolutions.fr\/?p=828"},"modified":"2025-05-21T16:43:45","modified_gmt":"2025-05-21T14:43:45","slug":"anatomie-du-financement-du-cinema-en-france","status":"publish","type":"post","link":"https:\/\/nosrevolutions.fr\/en\/2023\/10\/05\/anatomie-du-financement-du-cinema-en-france\/","title":{"rendered":"Anatomie du financement du cin\u00e9ma en France"},"content":{"rendered":"<p>Ce 23 ao\u00fbt, sortait en salle le long m\u00e9trage <em>Anatomie d\u2019une chute<\/em>, le quatri\u00e8me film de Justine&nbsp;Triet pour lequel elle a \u00e9t\u00e9 r\u00e9compens\u00e9e de la Palme d\u2019or au 76<sup>e<\/sup> Festival de Cannes, en mai dernier. Un mois plus tard, le film d\u00e9passe le million d\u2019entr\u00e9es. Un succ\u00e8s qui fait taire celles et ceux qui lui pr\u00e9disaient un tout autre avenir.<\/p>\n\n\n\n<p>En se voyant attribuer la Palme d\u2019or, J.&nbsp;Triet est devenue, de toute l\u2019histoire du festival, la troisi\u00e8me r\u00e9alisatrice \u00e0 obtenir la plus haute r\u00e9compense \u00e0 Cannes, 30 ans apr\u00e8s Jane Campion pour <em>La le\u00e7on de piano<\/em> et 2 ans apr\u00e8s Julia Ducournau pour, l\u2019\u00e9lectrisant, <em>Titane<\/em>. Par ce seul fait, la Palme de J.&nbsp;Triet pouvait s\u2019inscrire dans les m\u00e9moires. Mais, dans son discours, la cin\u00e9aste ne s\u2019est pas content\u00e9e des habituels remerciements protocolaires, elle fait deux choses qui n\u2019ont pas plu au gouvernement. D\u2019une part, elle a apport\u00e9 son soutien \u00e0 la mobilisation \u00ab&nbsp;<em>historique, extr\u00eamement puissante, unanime, contre la r\u00e9forme des retraites<\/em>&nbsp;\u00bb et d\u00e9nonc\u00e9 la r\u00e9pression et les violences polici\u00e8res. D\u2019autre part, elle a alert\u00e9 sur la mise \u00e0 mal de l\u2019\u00ab&nbsp;exception culturelle fran\u00e7aise&nbsp;\u00bb et sur les politiques n\u00e9olib\u00e9rales du gouvernement qui condamnent le cin\u00e9ma \u00e0 sa marchandisation.<\/p>\n\n\n\n<p>Une dizaine de minutes plus tard, la ministre de la Culture Rima Abdul Malak s\u2019est empress\u00e9e de publier un tweet o\u00f9 elle s&rsquo;est dite \u00ab&nbsp;<em>estomaqu\u00e9e par son discours si injuste<\/em>&nbsp;\"<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-twitter wp-block-embed-twitter\"><div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"twitter-tweet\" data-width=\"500\" data-dnt=\"true\"><p lang=\"fr\" dir=\"ltr\">Heureuse de voir la Palme d\u2019or d\u00e9cern\u00e9e \u00e0 Justine Triet, la 10\u00e8me pour la France ! Mais estomaqu\u00e9e par son discours si injuste. Ce film n\u2019aurait pu voir le jour sans notre mod\u00e8le fran\u00e7ais de financement du cin\u00e9ma, qui permet une diversit\u00e9 unique au monde. Ne l\u2019oublions pas.<\/p>&mdash; Rima Abdul Malak (@RimaAbdulMalak) <a href=\"https:\/\/twitter.com\/RimaAbdulMalak\/status\/1662548255111094272?ref_src=twsrc%5Etfw\">May 27, 2023<\/a><\/blockquote><script async src=\"https:\/\/platform.twitter.com\/widgets.js\" charset=\"utf-8\"><\/script>\n<\/div><\/figure>\n\n\n\n<p>Dans l&rsquo;heure, ce sont aussi des dizaines de d\u00e9put\u00e9s de la majorit\u00e9 et de la droite qui se sont fendus de commentaires sur un soi-disant sur-financement public du cin\u00e9ma en France. Ainsi, pour la majorit\u00e9 pr\u00e9sidentielle, quand un auteur est financ\u00e9 par de l&rsquo;argent public, il n\u2019a plus le droit de critiquer le gouvernement. Ni m\u00eame de parler politique, quand il fait du cin\u00e9ma.<\/p>\n\n\n\n<p>Mais pour comprendre les pertinents mots de Justine&nbsp;Triet et les critiques qui lui y sont faites, il faut revenir sur cette fameuse \u00ab&nbsp;exception culturelle fran\u00e7aise&nbsp;\u00bb et sur le financement du cin\u00e9ma en France.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>\u00c7a se finance comment un film&nbsp;?<\/strong><\/h4>\n\n\n\n<p>On reproche \u00e0 Justine&nbsp;Triet de voir son film soutenu par des structures publiques, ce qui l\u2019emp\u00eacherait de les critiquer. C\u2019est l\u00e0 une grave atteinte \u00e0 la libert\u00e9 d\u2019expression.<\/p>\n\n\n\n<p>Un film repose sur une multitude de financements. Parmi eux, il y a le Centre national du cin\u00e9ma et de l\u2019image anim\u00e9e (CNC), centre historique de la r\u00e9gulation du cin\u00e9ma en France, sous tutelle du minist\u00e8re de la Culture. Et \u00e0 nos chers d\u00e9put\u00e9s qui disent qu\u2019<em>Anatomie d\u2019une chute <\/em>a \u00e9t\u00e9 financ\u00e9 par l\u2019imp\u00f4t des Fran\u00e7ais\u00b7es, <em>spoiler alert&nbsp;! <\/em>c\u2019est faux.<\/p>\n\n\n\n<p>Le CNC dispose d\u2019un mod\u00e8le unique au monde qui permet d\u2019assurer la diversit\u00e9 du cin\u00e9ma fran\u00e7ais qu\u2019on lui conna\u00eet et que Justine&nbsp;Triet entend prot\u00e9ger dans sa prise de parole. Le CNC se finance par toute une s\u00e9rie de taxes, pr\u00e9lev\u00e9es sur les entreprises du secteur de l\u2019audiovisuel et du cin\u00e9ma. La plus connue est celle sur le ticket d&rsquo;entr\u00e9e au cin\u00e9ma dont 10,72&nbsp;% de la somme reviennent au CNC. Et c\u2019est avec cet argent-l\u00e0 que le centre peut ensuite reverser des aides aux films de cr\u00e9ation fran\u00e7aise. En somme, on a l\u2019habitude de dire, et c&rsquo;est tout \u00e0 fait juste, que c\u2019est le cin\u00e9ma qui finance le cin\u00e9ma.<\/p>\n\n\n\n<p>Les r\u00e9gions ont aussi la comp\u00e9tence de financer le cin\u00e9ma. Et leur aide est souvent pr\u00e9cieuse pour un tournage. Mais il faut comprendre que, pour chaque euro donn\u00e9 \u00e0 une production cin\u00e9matographique par une r\u00e9gion, est exig\u00e9 en contre-partie un investissement sur le territoire de 120&nbsp;% \u00e0 150&nbsp;% (c\u2019est-\u00e0-dire qu&rsquo;il faut d\u00e9penser sur le territoire un moment sup\u00e9rieur \u00e0 la subvention accord\u00e9e). Un tournage pour une r\u00e9gion, \u00e7a fait tourner l\u2019\u00e9conomie locale, les commerces, \u00e7a cr\u00e9e de l\u2019emploi sur place, etc.<\/p>\n\n\n\n<p>En 2022, le co\u00fbt moyen d\u2019un film de fiction s&rsquo;est \u00e9lev\u00e9 \u00e0 4,45&nbsp;millions&nbsp;d\u2019euros&nbsp;; <em>Anatomie d\u2019une chute, <\/em>lui, a co\u00fbt\u00e9 6&nbsp;millions. Et c\u2019est tant mieux d\u2019avoir&nbsp;un syst\u00e8me qui permet \u00e0 une r\u00e9alisatrice confirm\u00e9e de faire des films avec les moyens n\u00e9cessaires. Et c\u2019est m\u00eame rare quand on sait que 3 r\u00e9alisatrices sur 4 ont un budget inf\u00e9rieur \u00e0 4 millions d\u2019euros<sup data-fn=\"1aaca0f7-3dfe-4edc-b160-d7d24109828a\" class=\"fn\"><a href=\"#1aaca0f7-3dfe-4edc-b160-d7d24109828a\" id=\"1aaca0f7-3dfe-4edc-b160-d7d24109828a-link\">1<\/a><\/sup>. (quand bien m\u00eame, <em>Anatomie d\u2019une chute <\/em>&nbsp;reste dans ce qu\u2019on appelle \u00ab&nbsp;les films du milieu&nbsp;\u00bb<sup data-fn=\"c580ce20-f7d1-471f-b50f-1575235f0e98\" class=\"fn\"><a href=\"#c580ce20-f7d1-471f-b50f-1575235f0e98\" id=\"c580ce20-f7d1-471f-b50f-1575235f0e98-link\">2<\/a><\/sup>).<\/p>\n\n\n\n<p>Le fait que le film de J.&nbsp;Triet repose en partie sur des financements publics montre tout l\u2019int\u00e9r\u00eat de ce syst\u00e8me de financement public, qui nous donne les moyens de d\u00e9fendre la cr\u00e9ation des autrices et des auteurs, une pluralit\u00e9 de regards et de points de vue sur le monde.<\/p>\n\n\n\n<p>On a aussi beaucoup entendu de raccourcis, peu flatteurs pour leurs auteur\u00b7es, entre cin\u00e9ma subventionn\u00e9 et id\u00e9ologie (d\u2019&nbsp;\u00ab&nbsp;extr\u00eame gauche&nbsp;\u00bb, pour reprendre les mots de la ministre de la Culture). Je ne ferai pas ici la liste des films id\u00e9ologiquement contestables pour la gauche qui ont re\u00e7u des financements publics et qui d\u00e9montrent l&rsquo;absurdit\u00e9 du propos, parce que consid\u00e9rer qu\u2019un financement public conditionnerait un discours politique \u2013&nbsp;\u00e9tant entendu que les contenus racistes, sexistes et discriminatoires constituent, selon la loi, non pas des opinions mais des d\u00e9lits&nbsp;\u2013 me semble gravement dangereux pour la cr\u00e9ation comme pour ce qu\u2019il reste de notre d\u00e9mocratie.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>L\u2019 \u00ab&nbsp;exception culturelle&nbsp;\u00bb<\/strong><\/h4>\n\n\n\n<p>Expression apparue en 1993, l&rsquo;\u00ab&nbsp;exception culturelle fran\u00e7aise&nbsp;\u00bb vise \u00e0 pr\u00e9server la culture et le cin\u00e9ma des trait\u00e9s de libre-\u00e9change du GATT<sup data-fn=\"c3123188-3242-4b51-90ce-3c323d836290\" class=\"fn\"><a href=\"#c3123188-3242-4b51-90ce-3c323d836290\" id=\"c3123188-3242-4b51-90ce-3c323d836290-link\">3<\/a><\/sup>, avec, en t\u00eate, un objectif pr\u00e9cis&nbsp;: extraire la cr\u00e9ation des logiques de marchandisation.<\/p>\n\n\n\n<p>Cette exception culturelle permet aujourd\u2019hui au cin\u00e9ma de se maintenir sous la tutelle du minist\u00e8re de la Culture et non du minist\u00e8re des Finances. Ce d\u00e9placement vers Bercy est une des grandes craintes des professionnels du secteur.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><strong>Pourquoi Justine Triet s\u2019inqui\u00e8te-t-elle de la marchandisation du cin\u00e9ma&nbsp;?<\/strong><\/h4>\n\n\n\n<p>Le secteur de l\u2019audiovisuel et du cin\u00e9ma est en plein bouleversement. Depuis l&rsquo;arriv\u00e9e des plateformes, la chronologie des m\u00e9dias<sup data-fn=\"4a45d373-62cb-4245-a246-88b79f01cd9c\" class=\"fn\"><a href=\"#4a45d373-62cb-4245-a246-88b79f01cd9c\" id=\"4a45d373-62cb-4245-a246-88b79f01cd9c-link\">4<\/a><\/sup> est constamment remise en cause, le nombre de productions cin\u00e9matographiques ne cesse d\u2019augmenter et la possibilit\u00e9 de faire des films qui \u00ab&nbsp;ne marchent pas&nbsp;\u00bb (sur le plan commercial) devient de plus en plus rare. La cr\u00e9ation se trouve petit \u00e0 petit soumise \u00e0 des logiques de rentabilit\u00e9.<\/p>\n\n\n\n<p>En 2019, le producteur Dominique&nbsp;Boutonnat, a \u00e9t\u00e9 nomm\u00e9 pr\u00e9sident du Centre national du cin\u00e9ma et de l\u2019image anim\u00e9e (CNC). Un an avant sa d\u00e9signation, il \u00e9tait l\u2019auteur d\u2019un rapport sur le financement priv\u00e9 de la production et de la distribution cin\u00e9matographiques et audiovisuelles. Et, en r\u00e9sum\u00e9, il y affirme que le cin\u00e9ma doit \u00eatre rentable. Ce rapport est sorti un&nbsp;an \u00e0 peine avant sa nomination \u00e0 la t\u00eate du CNC.<\/p>\n\n\n\n<p>C\u2019est cette course-l\u00e0 \u00e0 la rentabilit\u00e9 qui nourrit les inqui\u00e9tudes de Justine&nbsp;Triet et d\u2019une bonne partie des professionnels du secteur. Parce qu\u2019un cin\u00e9ma \u00ab&nbsp;rentable&nbsp;\u00bb, et une culture \u00ab&nbsp;rentable&nbsp;\u00bb en g\u00e9n\u00e9ral, c\u2019est une cr\u00e9ation en danger. Parce que les films ne vont plus \u00eatre pens\u00e9s comme des \u0153uvres qui donnent un point de vue, qui cr\u00e9ent des images et des imaginaires, mais comme des objets format\u00e9s pour \u00ab&nbsp;fonctionner et rapporter&nbsp;\u00bb.<\/p>\n\n\n\n<p class=\"has-text-align-center\">***<\/p>\n\n\n\n<p>Depuis plusieurs mois maintenant, les professionnels du cin\u00e9ma demandent l\u2019organisation d\u2019\u00e9tats g\u00e9n\u00e9raux du cin\u00e9ma<sup data-fn=\"7a78b799-1441-4372-a7a2-adec46e21f31\" class=\"fn\"><a href=\"#7a78b799-1441-4372-a7a2-adec46e21f31\" id=\"7a78b799-1441-4372-a7a2-adec46e21f31-link\">5<\/a><\/sup> pour traiter des enjeux d\u2019un secteur en pleine mutation. Aucune r\u00e9ponse de la ministre ne leur a \u00e9t\u00e9 apport\u00e9e \u00e0 ce jour.<\/p>\n\n\n\n<p>Et si vous n\u2019avez pas vu <em>Anatomie d\u2019une chute<\/em>, attention&nbsp;: c\u2019est un film immense. C\u2019est un grand film sur le couple, qui dessine des personnages complexes et qui renverse le sch\u00e9ma patriarcal de la femme \u00e0 la maison et l\u2019homme au travail. C\u2019est aussi un grand film de proc\u00e8s, sur la justice, sur la mani\u00e8re dont on juge \u2013&nbsp;litt\u00e9ralement&nbsp;\u2013 les femmes lorsqu\u2019elles suivent leurs envies et tentent de s\u2019\u00e9manciper. C\u2019est un grand film de sc\u00e9nario, de mise en sc\u00e8ne, de direction d\u2019acteur. Bref, une Palme d\u2019or.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n<ol class=\"wp-block-footnotes\"><li id=\"1aaca0f7-3dfe-4edc-b160-d7d24109828a\"><a href=\"https:\/\/collectif5050.com\/la-parite-derriere-la-camera-2013-2022\/\">https:\/\/collectif5050.com\/la-parite-derriere-la-camera-2013-2022\/<\/a> <a href=\"#1aaca0f7-3dfe-4edc-b160-d7d24109828a-link\" aria-label=\"Jump to footnote reference 1\">\u21a9\ufe0e<\/a><\/li><li id=\"c580ce20-f7d1-471f-b50f-1575235f0e98\">On d\u00e9signe par \u00ab\u00a0films du milieux\u00a0\u00bb les films dont le budget est compris entre 3 et 10 millions d\u2019euros. <a href=\"#c580ce20-f7d1-471f-b50f-1575235f0e98-link\" aria-label=\"Jump to footnote reference 2\">\u21a9\ufe0e<\/a><\/li><li id=\"c3123188-3242-4b51-90ce-3c323d836290\">General agreement on tariffs and trade (GATT), en fran\u00e7ais\u00a0: Accord g\u00e9n\u00e9ral sur les tarifs douaniers et le commerce\u00a0; trait\u00e9 commercial multilat\u00e9ral, entr\u00e9 en vigueur en 1948 jusqu&rsquo;en 1994. <a href=\"#c3123188-3242-4b51-90ce-3c323d836290-link\" aria-label=\"Jump to footnote reference 3\">\u21a9\ufe0e<\/a><\/li><li id=\"4a45d373-62cb-4245-a246-88b79f01cd9c\">La chronologie des m\u00e9dias d\u00e9finit le calendrier des diff\u00e9rents cadres d\u2019exploitation d\u2019un film, apr\u00e8s sa sortie en salles. <a href=\"#4a45d373-62cb-4245-a246-88b79f01cd9c-link\" aria-label=\"Jump to footnote reference 4\">\u21a9\ufe0e<\/a><\/li><li id=\"7a78b799-1441-4372-a7a2-adec46e21f31\"><a href=\"https:\/\/www.youtube.com\/watch?v=563FQZN39lA\">Appel \u00e0 des \u00c9tats g\u00e9n\u00e9raux du cin\u00e9ma, 6\u00a0octobre\u00a02022<\/a>. <a href=\"#7a78b799-1441-4372-a7a2-adec46e21f31-link\" aria-label=\"Jump to footnote reference 5\">\u21a9\ufe0e<\/a><\/li><\/ol>\n\n\n<p>Image d&rsquo;illustration : Photo de <a href=\"https:\/\/unsplash.com\/fr\/@kristsll?utm_content=creditCopyText&amp;utm_medium=referral&amp;utm_source=unsplash\">Krists Luhaers<\/a> sur <a href=\"https:\/\/unsplash.com\/fr\/photos\/AtPWnYNDJnM?utm_content=creditCopyText&amp;utm_medium=referral&amp;utm_source=unsplash\">Unsplash<\/a><\/p>","protected":false},"excerpt":{"rendered":"<p>Ce 23 ao\u00fbt, sortait en salle le long m\u00e9trage Anatomie d\u2019une chute, le quatri\u00e8me film de Justine&nbsp;Triet pour lequel elle a \u00e9t\u00e9 r\u00e9compens\u00e9e de la Palme d\u2019or au 76e Festival [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":829,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_EventAllDay":false,"_EventTimezone":"","_EventStartDate":"","_EventEndDate":"","_EventStartDateUTC":"","_EventEndDateUTC":"","_EventShowMap":false,"_EventShowMapLink":false,"_EventURL":"","_EventCost":"","_EventCostDescription":"","_EventCurrencySymbol":"","_EventCurrencyCode":"","_EventCurrencyPosition":"","_EventDateTimeSeparator":"","_EventTimeRangeSeparator":"","_EventOrganizerID":[],"_EventVenueID":[],"_OrganizerEmail":"","_OrganizerPhone":"","_OrganizerWebsite":"","_VenueAddress":"","_VenueCity":"","_VenueCountry":"","_VenueProvince":"","_VenueState":"","_VenueZip":"","_VenuePhone":"","_VenueURL":"","_VenueStateProvince":"","_VenueLat":"","_VenueLng":"","_VenueShowMap":false,"_VenueShowMapLink":false,"footnotes":"[{\"content\":\"<a href=\\\"https:\/\/collectif5050.com\/la-parite-derriere-la-camera-2013-2022\/\\\">https:\/\/collectif5050.com\/la-parite-derriere-la-camera-2013-2022\/<\/a>\",\"id\":\"1aaca0f7-3dfe-4edc-b160-d7d24109828a\"},{\"content\":\"On d\u00e9signe par \u00ab\u00a0films du milieux\u00a0\u00bb les films dont le budget est compris entre 3 et 10 millions d\u2019euros.\",\"id\":\"c580ce20-f7d1-471f-b50f-1575235f0e98\"},{\"content\":\"General agreement on tariffs and trade (GATT), en fran\u00e7ais\u00a0: Accord g\u00e9n\u00e9ral sur les tarifs douaniers et le commerce\u00a0; trait\u00e9 commercial multilat\u00e9ral, entr\u00e9 en vigueur en 1948 jusqu'en 1994.\",\"id\":\"c3123188-3242-4b51-90ce-3c323d836290\"},{\"content\":\"La chronologie des m\u00e9dias d\u00e9finit le calendrier des diff\u00e9rents cadres d\u2019exploitation d\u2019un film, apr\u00e8s sa sortie en salles.\",\"id\":\"4a45d373-62cb-4245-a246-88b79f01cd9c\"},{\"content\":\"<a href=\\\"https:\/\/www.youtube.com\/watch?v=563FQZN39lA\\\">Appel \u00e0 des \u00c9tats g\u00e9n\u00e9raux du cin\u00e9ma, 6\u00a0octobre\u00a02022<\/a>.\",\"id\":\"7a78b799-1441-4372-a7a2-adec46e21f31\"}]"},"categories":[13],"tags":[30],"class_list":["post-828","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","tag-culture"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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