阿黛兒艾奈爾：永遠離開電影業 - 電影

平常有在觀眾法國文藝電影的觀眾應該都認識 Adèle Haenel 這位演員，近期以演出《燃
燒女子的畫像》最為知名，童星出道的他曾連續兩年在凱薩獎上拿下最佳女主和女配角。

不過事實上，自從 2019 年的《燃燒女子的畫像》之後，他已經有近三年沒有演出任何新
作品，他最近也在一個訪談中談到了這個決定。

不好意思因為英文沒有多好，這邊就不逐一翻譯，但大致上整理出重點。Haenel 很直接的
說這是政治因素，他認為現在的電影圈是反動的、父權的和種族主義的，他不想要待在如
此結構的行業中，他認為透過永遠離開他就是一種抗爭。

會讓他有此決定的主要一個原因就是 2020 年的凱薩獎上，曾經犯下性侵未成年女子罪刑
的導演 Roman Polanski 以《An Officer and a Spy》拿下最佳導演，在典禮唱名當下，H
aenel 和導演 Céline Sciamma 直接離席表達抗議，成為當屆典禮的外界討論的話題之一
。（題外話：Roman Polanski 新作正在拍攝中）

Haenel 也表示其實他不是沒有再和新案子討論過演出的可能，近期包括了 Bruno Dumont
的科幻新片《L'Empire》，起初他認為這部電影的概念是有趣的，但他背後是在捍衛性別
和種族歧視的，劇本中開了取消文化和性暴力的玩笑。他原本試圖和 Dumont 溝通這個問
題，他也認為對方是有討論空間的，但最後仍然沒有達到共識，讓他無法支持這部電影。

總而言之，從他的對話看來，Haenel 短時間應該不太可能演出新作（除非 Sciamma 再找
他？），雖然很可惜但支持他的理念！

以下附上網址和原文：https://bit.ly/3wxkmFY

“I don’t make films anymore,” said Haenel in a new interview with the
German magazine FAQ. When asked why, she added, “Because of political
reasons. Because the film industry is absolutely reactionary, racist, and
patriarchal. We are mistaken if we say that the powerful are of goodwill,
that the world is indeed moving in the right direction under their good and
sometimes unskillful management. Not at all. The only thing that moves
society structurally is social struggle. And it seems to me that in my case,
to leave is to fight. By leaving this industry for good, I want to take part
in another world, in another cinema.”

“For example, the perspective of women in the films. I tried to change
something from within. When it comes to the MeToo movement, women’s issues
or racism, the film industry is extremely problematic. I don’t want to be
part of that anymore.”

“At first, I thought it looked like a lot of fun: a kind of Luke Skywalker
in space. The problem is that behind this funny facade, it was a dark, sexist
and racist world that was defended. The script was full of jokes about cancel
culture and sexual violence. I tried to discuss it with Dumont, because I
thought a dialogue was possible. I wanted to believe for the umpteenth time
that it was not intentional. But it’s intentional. This disregard is
deliberate. Just as they make fun of the victims, of people in a situation of
weakness. The intention was to make a sci-fi film with an all-white cast –
and therefore a racist narrative. I didn’t want to support this.”

“I want to participate in another world,” she said. “If I stayed today in
this film industry, I would be a kind of feminist guarantee to this masculine
and patriarchal industry. My dream is to make it clear: this industry defends
a capitalist, patriarchal, racist, sexist world of structural inequality.
This means that this industry works hand in hand with the global economic
order, in which all lives are not equal.”

“I don’t want to be part of a feminist washing machine. It’s bullshit,”
she added, citing two more examples of the hypocrisy within: “The director
of the CNC, the French organization for the promotion of cinema, Dominique
Boutonnat, remains in office while he is indicted for sexual assault. But
Thierry Frémaux, from the Cannes Film Festival, puts three women in the 2022
Official Selection, so I am told that this is going in the right direction?
In the sense of being had, yes!”


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