For AlloCiné, the candidates for the 2022 presidential election reveal their vision of Culture, their tastes in political fiction and their favorite films and series. Today, Marine Le Pen, candidate of the National Rally (RN).
Marine Le Pen (National Rally)
Shouldn’t Culture benefit from a sovereign ministry?
I don’t think it’s particularly necessary. Culture is not really intended to be controlled by the State, and the cultural wealth of our country is largely based on local traditions and productions. In this respect, local authorities have a major role to play. Indeed, the centralizing trend in Paris often only works to the detriment of culture in the rest of France.
For cinema, the State is already a key player in the industry. The CNC is, despite its flaws, an excellent tool for preserving and consolidating French cinema. During my mandate, we will obviously dialogue with professionals in the sector to strengthen, correct and develop the French film industry.
Our country has been on the defensive for decades, maybe it’s time to go on the offensive? The example of the cultural policy of Japan and Korea is in any case very interesting. France invented the cinema, and we are one of the only European countries to have preserved our film industry.
We will therefore be able to think about cooperation with other European countries, or those of the French-speaking world. This would be an opportunity to create a French counterweight to American domination of the 7th art. The Europe of nations or the French-speaking Union that I wish to set up will be very good frameworks for a major film policy with global ambitions.
Is cinema necessarily a political art? What inspires you about the recovery that can be done around a work, such as “Bac Nord” recently?
Bac Nord is a popular action movie. It is a fictionalized film of course, but no offense to its opponents, also very realistic. The film is not only based on a true story, but it fits the truth of these neighborhoods very well. I have lost count of the number of police officers, firefighters or residents who have been coming to see me for 20 years and tell me about the hardships, and sometimes the horrors, they are going through.
Journalists or politicians who accuse us of hijacking have never set foot in these places, or worse, do not see the problem in leaving control of entire swaths of our country to gangs of criminals, traffickers or Islamists.
Don’t Look Up can be seen as a critique of climate laxity, but North ferry could not be interpreted as an observation of lax security and working conditions of the police? That does not make sense. It is the policy of the ostrich.
Do cinema and series have, among other things, the vocation, in your opinion, of helping to “move the lines” on societal issues (parity, diversity, etc.)?
The political use of art is very old, and cinema is obviously no exception to the rule. But is that the goal? I do not think so. It all depends on your definition of art. Is it the search for beauty? The promulgation of values? The search for an emotion, whether positive or negative? It is a philosophical debate that has caused much ink to flow.
What I do know is that some left-wing political circles attacked culture very early on and made it one of their political strongholds. This is the theory of the Marxist thinker Antonio Gramsci: to change society in depth, it is necessary to seize cultural, academic and artistic institutions to slowly spread revolutionary ideas.
Once minds are won over to the new ideas, political changes can be made without a hitch. We see this blatantly today with the distillation of so-called “woke ideas”. In parallel with this political use of cinema, sometimes in the interest of the States themselves, we are witnessing a commodification of art. The popular cinema of a few years ago sometimes tends to become a mass consumer product, devoid of depth, losing quality. I regret both tendencies.
The long history of French cinema is eminently political, but above all it must remain artistic and popular. Some films denounce realities and allow society to become aware of essential issues, but we must be careful of the stranglehold of ideology, or rather of a single ideology, on the artistic production of our country. What is happening across the Atlantic, or even in Great Britain, is very worrying in this regard.
Candidate… and spectator
If we had to give a film or series title to this campaign…
The good, the bad and the ugly. I’ll let you guess which is which.
If you had to give a film or series title to your program…
More beautiful life !
A replica of a film or series that inspires you…
It’s difficult. A replica of Audiard probably. May be “We are governed by lascars who fix the price of beets and who cannot grow radishes”.
A movie/series character that inspires you…
Joan of Arc, as always.
For which President·e on the screen would you have voted?
Surely Jean Gabin in The President.
The best political film?
That’s a very good question. A priori, I would say Argo or Le Guépard.
The best political series?
Baron Noir without hesitation. I could cite House of Cards or Veep, which apparently is a very good series, but Baron Noir is undeniably a very fine French success. There is a certain rhythm inherent in our creations, a mastery of dialogue, and then it’s France quite simply, we identify with it well despite certain caricatural elements.
Your first spectator memory?
I remember Tarzan very well! The 1968 version.
Your cult film?
brave heart. It’s a magnificent film with very beautiful values of patriotism and freedom. For French cinema, Father Christmas is obviously garbage.
Your cult series?
I loved Game of Thrones. It’s a powerful series, full of twists and turns. Despite the disappointing ending, its success was well deserved.
Your latest cinema/series crush?
North ferry. I was struck by the realism of this film. It corresponds very well to the reality described by the police and the inhabitants of these neighborhoods that I have been meeting now for almost 20 years.
Film/series music to work on or think about?
I would say The Professional.
Note from the Editor of AlloCiné
On the occasion of the Presidential Election 2022AlloCiné gives the floor to the twelve candidates involved in the race for the Elysée, with the collaboration of Camille Marigaux, Culture, Politics and International journalist at France Culture and RFI.
The same questionnaire was submitted to all the people in the running. We will publish the answers of a candidate each day, according to the order determined by the official draw*. A thematic article, bringing together the responses and proposals of the various candidates on topics related to media chronology and piracy, will also be available on our site by April 8, 2022.
*the answers of Emmanuel Macron, in third position according to the draw of the Constitutional Council, did not reach us in time. They will be published as soon as they are received.
We remind you that you should be civil in the comments related to these publications. In the event of overflows and messages that do not comply with the charter, we will be obliged to close the comments. Thank you for understanding.
Don’t forget to vote on April 10 and 24.