“The choice of the Venice Film Festival to select Roman Polanski, Luc Besson and Woody Allen, and the choice of Deauville to select Luc Besson are a shameful validation of their impunity. » On his Instagram account, the Red Carpet, Black Anger (TRCN) collective does not go hand in hand. “As their feet tread the red carpetscontinues the press release, it’s the whole cinema system, from funders to broadcasters, that will work on the victims. » On the night of Saturday September 2 to Sunday September 3, its members flowered the walls, bridges and quays of Venice and – to a lesser extent – Deauville and Paris with slogans. “Besson + Polanski + Allen = 17 charges” ; “Mostra, Awful, Dirty and Wicked” ; “Rape culture alla Mostra” (“culture of rape at the Mostra”); “Festival sessista, risposta femminista” (“sexist festival, feminist response”); « Mostri in Mostra » (“monsters at the Mostra”)…
This group, which brings together “filmmakers and technicians” of French cinema, had carried out a similar operation at the Cannes Film Festival in May. Associated, for Venice, with the collective “transfeminist” Italian Punto Force, TRCN posted dozens of photos on social networks, the only space where the collages remain visible. Deleted early in the morning by the relevant authorities, they have, in fact, escaped the attention of most festival-goers.
It was in Deauville that Luc Besson, 64, had chosen to reserve his main public appearances, before the release of DogMan, his new film. On September 2, the filmmaker presented it with great fanfare, surrounded by his family, with his wife and producer dancing at the end of the screening and a hug from his children, to standing ovations. The next day, he gave a master class, with hyper-controlled access – three searches and checks of tickets, all the same. It will hardly have altered the satisfied air of the director who, for several months, had been working on his redemption.
Whitening operation
Side face: a vast money laundering operation, the culmination of which will have been the publication, on August 31, ofan interview at Paris Matchtitled “The Light After the Storm”. The filmmaker says that “the justice system collected dozens of proofs of [son] innocent », he who, in reality, benefited from a dismissal in the face of accusations of rape by actress Sand Van Roy. The co-author of the interview? Jérôme Béglé, a figure in the sphere of the industrialist Vincent Bolloré, seems to send a message to those banned from wokism.
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