平常有在观众法国文艺电影的观众应该都认识 Adèle Haenel 这位演员，近期以演出《燃
烧女子的画像》最为知名，童星出道的他曾连续两年在凯萨奖上拿下最佳女主和女配角。
不过事实上，自从 2019 年的《燃烧女子的画像》之后，他已经有近三年没有演出任何新
作品，他最近也在一个访谈中谈到了这个决定。
不好意思因为英文没有多好，这边就不逐一翻译，但大致上整理出重点。Haenel 很直接的
说这是政治因素，他认为现在的电影圈是反动的、父权的和种族主义的，他不想要待在如
此结构的行业中，他认为透过永远离开他就是一种抗争。
会让他有此决定的主要一个原因就是 2020 年的凯萨奖上，曾经犯下性侵未成年女子罪刑
的导演 Roman Polanski 以《An Officer and a Spy》拿下最佳导演，在典礼唱名当下，H
aenel 和导演 Céline Sciamma 直接离席表达抗议，成为当届典礼的外界讨论的话题之一
。（题外话：Roman Polanski 新作正在拍摄中）
Haenel 也表示其实他不是没有再和新案子讨论过演出的可能，近期包括了 Bruno Dumont
的科幻新片《L'Empire》，起初他认为这部电影的概念是有趣的，但他背后是在捍卫性别
和种族歧视的，剧本中开了取消文化和性暴力的玩笑。他原本试图和 Dumont 沟通这个问
题，他也认为对方是有讨论空间的，但最后仍然没有达到共识，让他无法支持这部电影。
总而言之，从他的对话看来，Haenel 短时间应该不太可能演出新作（除非 Sciamma 再找
他？），虽然很可惜但支持他的理念！
以下附上网址和原文：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!”