The Cinémathèque Française, a cornerstone of French cinema heritage, finds itself under scrutiny as the Court of Auditors releases a extensive report on its governance and financial management. The timing of this audit coincides with the recent controversy surrounding the institution’s handling of Last tango in Paris,adding fuel to an already heated debate.
Governance and Financial Management
The report acknowledges that the administrative and accounting management of the Cinémathèque is “rather well supervised.” Though, it raises concerns about its associative governance, describing it as “marked by a form of inter-self.” The board of directors, composed of 16 prominent figures in the film industry, including Olivier Assayas, Bertrand bonello, and Claire Denis, is seen as both a strength and a weakness. While their expertise is undeniable, the report suggests that this structure may hinder broader institutional progress.
Conservation and Public Engagement
The Cinémathèque’s mission to preserve and disseminate cinematographic heritage has seen notable successes. Recent exhibitions featuring Wes Anderson,james Cameron,and Romy Schneider have drawn meaningful crowds,contributing to a “public enlargement” praised by the report. The institution’s digital initiatives,such as the Henri rarity platform launched during the COVID-19 pandemic,have also been commended.
Despite these achievements,the report highlights areas for enhancement. Attendance, though rising to 440,000 visitors in 2024 (up from 333,000 in 2023), is deemed “disappointing” in terms of attracting younger audiences.The museum itself is described as “unattractive,” a critique that underscores the need for modernization and outreach.
Ancient Tensions and Future challenges
The Cinémathèque’s relationship with the French state has long been fraught with tension, epitomized by the infamous langlois affair of 1968, when founder Henri Langlois was nearly dismissed by the Malraux ministry. Today, the institution operates with a budget of nearly 27 million euros, 75% of which comes from public subsidies via the National Center for Cinema and the Animated Image (CNC).
The report questions whether the cinémathèque’s associative status under the 1901 law is still fit for purpose, stating that it “does not allow him today to carry out his heritage projects.” this critique suggests a potential shift toward greater state involvement, a move that would likely have displeased Langlois, who fiercely guarded the institution’s independence.
Key Takeaways
| Aspect | Findings |
|—————————–|—————————————————————————–|
| Governance | “Associative governance marked by a form of inter-self” |
| Financial management | “Rather well supervised” |
| Public Engagement | “Public enlargement” praised,but “disappointing attendance” among youth |
| Historical Tensions | Langlois affair remains a defining moment |
| Future recommendations | Reconsideration of associative status for heritage projects |
As the Cinémathèque navigates these challenges,it must balance its rich history with the demands of a rapidly evolving cultural landscape.The report’s findings serve as both a critique and a roadmap for an institution that remains vital to the preservation of global cinema.
for more insights into the Cinémathèque’s storied past and its ongoing evolution, explore its official website and delve into its digital archives.
France’s Cinematic Heritage at a Crossroads: Calls for Reform and a National Cinema Museum
France’s cinematic legacy, one of the most revered in the world, is facing significant challenges. A recent report by the Court of Auditors has highlighted critical issues within the Cinémathèque française, including outdated governance, inadequate storage facilities, and a pressing need for modernization. Amid these concerns, the Minister of Culture, Rachida Dati, has reignited discussions about the creation of a National Cinema Museum, modeled after the Academy Museum of Motion Pictures in Los Angeles.
Outdated Governance and the Need for reform
The Cinémathèque française, established nearly 80 years ago, is grappling with governance structures that have become “obsolete”, according to the Court of Auditors. The report emphasizes that the institution’s statutes no longer align with its evolving missions. The Court has called for the Ministry of Culture and the CNC (National Center for Cinema and the Moving image) to take on a more direct supervisory role, transitioning from a partnership model to a “real guardianship”.
One of the most contentious issues is the “unlimited mandate” of the Director General, Frédéric Bonnaud, who has held the position since 2016 under a private permanent contract. This arrangement contrasts sharply with the typical three-to-five-year renewal cycles for state operators. The report also raises concerns about the influence of elected officials, who may benefit from “notoriety” and introduce “risks of interference”.
A National Cinema Museum: A Long-Awaited Dream
The idea of a National cinema Museum has been a recurring topic in French cultural discourse. President of the Cinémathèque française, Costa-Gavras, and Rachida Dati have both championed this vision. The proposed museum would emulate the academy Museum of Motion Pictures in Los Angeles, serving as a hub for preserving and celebrating France’s cinematic heritage.
However, the project has faced criticism for being prioritized over more urgent needs, such as the construction of secure storage silos for the Cinémathèque’s vast collection. The Court of Auditors notes,“We can regret that [the museum project] was initiated even though the more priority project of constructing silos to safeguard the film collection is still not underway.”
Real Estate Challenges and Storage Woes
The Cinémathèque’s main site in bercy, designed by Frank Gehry in 1994, is struggling to accommodate the institution’s growing collection. With 50,000 film reels and over a million invaluable objects and documents, the storage facilities are “insufficient” and “unsuitable”. The collection, enriched by deposits made “without selection rule”, is scattered across multiple warehouses, including the military fort of Saint-Cyr.
This fragmented storage strategy has led to “additional rental costs” and exposes the archives to the “vagaries of movements operated in the emergency.” The Court of Auditors has urged the CNC and INA (National audiovisual Institute) to collaborate on a project to pool reserves, though this initiative has yet to materialize.
Marseille’s Role in the France 2030 Plan
As part of the France 2030 plan and President Emmanuel Macron’s vision, a relocated antenna of the Cinémathèque was proposed in Marseille.Though, the “Marseille in large” plan has reportedly “lost momentum” following internal disruptions. Local sources suggest that the project has been sidelined, raising questions about its future.
Key Challenges and Proposed Solutions
| Issue | Details | proposed Solution |
|——————————–|—————————————————————————–|————————————————————————————–|
| Governance | Outdated statutes, unlimited mandate for Director General | Transition to public utility foundation or public establishment |
| Storage Facilities | Insufficient and unsuitable spaces, fragmented storage | Construct secure silos, pool reserves with CNC and INA |
| National Cinema Museum | Prioritized over urgent storage needs | Align museum project with storage infrastructure development |
| marseille Relocation | Plan stalled due to internal disruptions | Reassess feasibility and integrate into broader cultural strategy |
A Call to Action
The challenges facing the Cinémathèque française underscore the need for a comprehensive strategy to safeguard France’s cinematic heritage. While the creation of a National Cinema Museum is an exciting prospect, it must be balanced with urgent infrastructure improvements. As Rachida Dati and Costa-Gavras push forward with their vision, the Ministry of Culture must ensure that the institution’s governance and storage needs are addressed in tandem.
France’s cinematic legacy deserves nothing less than a robust and forward-thinking approach. The time to act is now.
Interview with a Cultural Expert on the national Cinema Museum Project
Editor: The idea of a National Cinema Museum has been a recurring topic in French cultural discourse.What are the key motivations behind this project?
Guest: The primary motivation is to create a dedicated space that preserves and celebrates France’s rich cinematic heritage. Inspired by the Academy Museum of Motion Pictures in Los Angeles, this museum would serve as a cultural hub, showcasing the history and artistry of French cinema. Advocates like Costa-Gavras and Rachida Dati see it as a way to honor France’s global contributions to the art form.
Editor: however, the project has faced criticism for being prioritized over more urgent needs, such as the construction of secure storage silos for the Cinémathèque’s collection. What are your thoughts on this?
Guest: It’s a valid concern. The Cinémathèque française holds an extensive collection—50,000 film reels and over a million objects and documents—that are currently stored in inadequate and fragmented facilities. The Court of Auditors has rightly pointed out that safeguarding this collection should be a higher priority. The museum project, while exciting, must be balanced with essential infrastructure improvements to ensure the preservation of these irreplaceable artifacts.
Editor: The storage challenges seem significant.Could you elaborate on the specific issues and thier implications?
Guest: Absolutely.The main site in Bercy, designed by Frank Gehry, is struggling to accommodate the growing collection. Many items are stored in unsuitable spaces, including the military fort of Saint-cyr, which exposes them to risks of damage and deterioration.Additionally, this fragmented storage strategy leads to higher rental costs and logistical challenges. The Court of Auditors has urged collaboration between the CNC and INA (national Audiovisual Institute) to pool reserves, but this initiative has yet to materialize.
Editor: Marseille was proposed as a new location for a relocated antenna of the Cinémathèque under the France 2030 plan. What’s the current status of this project?
Guest: Unluckily, the “Marseille in large” plan has lost momentum due to internal disruptions. Local sources suggest that the project has been sidelined,raising questions about its future. while the idea of decentralizing cultural institutions is commendable,reassessing its feasibility and integrating it into a broader cultural strategy is essential.
Editor: What are the key governance challenges facing the Cinémathèque, and how can they be addressed?
Guest: One major issue is the outdated statutes and the unlimited mandate for the Director General.Transitioning to a public utility foundation or a public establishment could modernize governance structures and improve accountability. This would also facilitate better coordination with entities like the CNC and INA to address storage and preservation needs.
Editor: what’s your viewpoint on the balance between creating a national Cinema Museum and addressing immediate storage concerns?
Guest: It’s crucial to strike a balance. While the museum project is an inspiring initiative that could elevate France’s cultural prestige, it must not come at the expense of safeguarding the existing collection. A comprehensive strategy that aligns the museum’s development with urgent infrastructure improvements is the way forward. France’s cinematic legacy deserves a robust and forward-thinking approach that prioritizes preservation, accessibility, and celebration.
Conclusion
the challenges faced by the Cinémathèque française highlight the need for a holistic approach to preserving France’s cinematic heritage. Advocates like Rachida Dati and Costa-Gavras envision a National Cinema Museum as a cultural landmark, but this must be balanced with urgent storage and governance reforms. By addressing these issues in tandem, France can ensure the enduring legacy of its cinematic treasures.
