France refuses to pick between tradition and modernity, so they just do both. Somehow it works brilliantly. Here's how contradiction became their cultural superpower.
Oh and I meant to add that I read those figures about how 2024 was a great year for French cinemas, but recently saw that 2025 has been tough due to lack of big draws. Some smaller cinemas are on the brink...I hope this can be reversed.
Betty, you’re absolutely right, and thank you for raising this. The 2025 numbers have been tough - down about 13% through September, with some of the worst monthly figures in 20 years outside the pandemic. Smaller cinemas are genuinely struggling, and it’s heartbreaking to see.
This is actually exactly what I’m exploring in my upcoming article “The Cracks in the Cathedral” (publishing in January). The 2024 success was real and remarkable, but it also revealed underlying problems - the collapse of “middle cinema,” over-reliance on big hits, the challenges smaller venues face in a luxury-focused market.
What’s fascinating (and concerning) is that the structural system remains strong - the funding, the regulations, the support mechanisms. But 2025 is showing us that even brilliant systems can’t solve every problem, especially when there’s a lack of compelling content to draw audiences.
I think the key is distinguishing between cyclical problems (2025’s content drought) and structural ones. France still has the best cinema infrastructure in the world. Perhaps they still need to figure out how to use it to support those smaller cinemas and mid-budget films that give audiences reasons to keep coming back week after week, not just for the occasional blockbuster.
Really appreciate you keeping an eye on this - it’s exactly the kind of nuanced observation that makes these conversations richer. Jx
I just happened to run into an article about 2025 cinema trends, especially as regards smaller cinemas, on my newsfeed. I had no idea before, as I had kept with the idea that cinema was thriving in France.
I think there's hope, though. And I'm looking forward to your next article.
I loved this article and I think you hit the nail on the head. Many like to hold on to the idea of a purely traditional France, whereas the country is nothing but. I constantly see this mix of tradition and innovation on my trips: in architecture, in urban renewal, in museums, and in approaches to tourism.
Thank you, Betty. The France you describe is the France that fascinates me. It is the "France beyond the cliché" I try and try to expose and describe, but perhaps there are many who don't see it.
And you make a great point! I'll be exploring those 2025 challenges in my upcoming article on current tensions in French cinema. The structural strengths remain, but you're right that short-term fluctuations matter. My intrigue with these happenings has now created a series of 4 articles... so more fascinating stuff to come. This one is #1, and I'm thrilled you are enjoying it too.
Beautiful and enlightening piece! I LOVE that the French Gov taxes the Big Guys and make them pay to play. What a concept!! (she says sarcastically because, it's pretty obvious that this is the answer to many issues whether they be socialist or capitalist.) What also intrigued me is that France is unapologetic about "commissioning" France-based works. It's how they keep their tradition and culture alive. Duh?! As a playwright/performer here in America, all the artists are up-in-arms calling it fascist that the Trump administration is doing the same, (not that I'm a fan AT ALL!) but, these same people call themselves far-left liberals aka socialists. It will boggle the mind. Either way, LOVED this read! Thank you Judy. xx
Lisa, thank you so much! You've touched on something really fascinating - the difference between cultural policy and political control.
What makes the French model work isn't just that the government funds culture. It's how they do it. The CNC operates at arm's length from political interference. Funding decisions are made by industry professionals and cultural experts, not politicians. Netflix pays in, but the government doesn't dictate what Netflix makes - the creative community does.
The key distinction: France funds the conditions for culture to flourish (training, infrastructure, distribution), not specific political messages. They're investing in the ecosystem, not commissioning propaganda.
As a playwright, you'd probably appreciate this: French theatre gets similar support - subsidised venues, training programmes, audience development - without the government telling artists what stories to tell or how to tell them.
The "unapologetic" part you mention is what I find most interesting. France doesn't apologise for believing their culture is worth protecting and investing in. That's not nationalism, it's cultural confidence—big difference.
Thanks for engaging so thoughtfully with this! Your perspective as an artist adds so much to the conversation.
Is it contradiction or consistency? You make a good case for intelligent regulation that others might demonise!
Moving to Ireland and attending a showing at a cinema for the first time, we were astonished at the difference of that experience to the comparable one in the US we'd left behind. Yes, some things were the same--the sales of popcorn and candies, large paper cups of drinks, etc. But the behaviour in the theatre was different: noisy at times, and at the end of the showing people just discarded their waste on the floors, leaving devastation in their wake, and work for the crews that were ready to come in and clean it all up before the chaos erupted at the next showing. This is not what we expected in a country that created a national "tidy towns" competition!
Similar surprise when attending our first cinema experience in France: these are civilised spaces. Often the seats are luxurious and spacious (with no integrated drink holders, by the way). They are clean. People are quiet and do not tolerate noise--not even the sound of a candy wrapper being manipulated. Alors, l'autre côté de la médaille--its the social aspect of what the audience expects. And your article reveals how embedded in the culture that expectation is.
John, what a wonderful reflection... thanks so much. And yes, you’ve put your finger on something essential: the line between contradiction and consistency is often cultural, not political.
What you describe about Ireland, the US, and France is exactly why I find the French cinema ecosystem so revealing. It isn’t just regulation shaping culture, and it isn’t just culture shaping behaviour; to me, it seems like a loop. The policies create the conditions, but the audience completes the picture.
Here's what I love...in France, cinema isn’t treated as entertainment alone; it’s treated as a shared public space. That expectation of civilité you noticed, the quiet, the care, the sheer respect for the room, is as much a part of the cinematic experience as the film itself. And it’s no accident. When a nation invests in film as cultural heritage, audiences respond by behaving like custodians rather than consumers.
Your “tidy towns” comparison made me smile :) It’s such a perfect illustration. France reverses the equation: instead of tidy streets and chaotic cinemas, they tidy the cultural spaces first. And then the people follow.
I love that your experiences in three different countries reveal the deeper point of the article: intelligent regulation isn’t about controlling behaviour, it’s about setting standards that people actually want to live up to. France expects cinema to be a cultural act — and somehow, people rise to meet that expectation.
Thank you for sharing, John, your views add so much richness to the conversation.
Great article Judy! the "cultural contradiction" you highlight is very French indeed. I'm exploring similar contrasts for the next topic I'll be writing about for MyFrenchLife: "la ruralité", the French countryside.
This is a really interesting analysis. Thanks!
absolutely my pleasure Courtney - I loved the sector and haven't finished with it actually ;)
Jx
Oh and I meant to add that I read those figures about how 2024 was a great year for French cinemas, but recently saw that 2025 has been tough due to lack of big draws. Some smaller cinemas are on the brink...I hope this can be reversed.
Betty, you’re absolutely right, and thank you for raising this. The 2025 numbers have been tough - down about 13% through September, with some of the worst monthly figures in 20 years outside the pandemic. Smaller cinemas are genuinely struggling, and it’s heartbreaking to see.
This is actually exactly what I’m exploring in my upcoming article “The Cracks in the Cathedral” (publishing in January). The 2024 success was real and remarkable, but it also revealed underlying problems - the collapse of “middle cinema,” over-reliance on big hits, the challenges smaller venues face in a luxury-focused market.
What’s fascinating (and concerning) is that the structural system remains strong - the funding, the regulations, the support mechanisms. But 2025 is showing us that even brilliant systems can’t solve every problem, especially when there’s a lack of compelling content to draw audiences.
I think the key is distinguishing between cyclical problems (2025’s content drought) and structural ones. France still has the best cinema infrastructure in the world. Perhaps they still need to figure out how to use it to support those smaller cinemas and mid-budget films that give audiences reasons to keep coming back week after week, not just for the occasional blockbuster.
Really appreciate you keeping an eye on this - it’s exactly the kind of nuanced observation that makes these conversations richer. Jx
I just happened to run into an article about 2025 cinema trends, especially as regards smaller cinemas, on my newsfeed. I had no idea before, as I had kept with the idea that cinema was thriving in France.
I think there's hope, though. And I'm looking forward to your next article.
I loved this article and I think you hit the nail on the head. Many like to hold on to the idea of a purely traditional France, whereas the country is nothing but. I constantly see this mix of tradition and innovation on my trips: in architecture, in urban renewal, in museums, and in approaches to tourism.
Thank you, Betty. The France you describe is the France that fascinates me. It is the "France beyond the cliché" I try and try to expose and describe, but perhaps there are many who don't see it.
And you make a great point! I'll be exploring those 2025 challenges in my upcoming article on current tensions in French cinema. The structural strengths remain, but you're right that short-term fluctuations matter. My intrigue with these happenings has now created a series of 4 articles... so more fascinating stuff to come. This one is #1, and I'm thrilled you are enjoying it too.
Watch this space.
Judy
Brilliant article Judy! You've nailed it - the French thrive on Contradiction - this AND this is always true! 👑💖
Thank you, Nigelle, I always appreciate your feedback.
Judy
Beautiful and enlightening piece! I LOVE that the French Gov taxes the Big Guys and make them pay to play. What a concept!! (she says sarcastically because, it's pretty obvious that this is the answer to many issues whether they be socialist or capitalist.) What also intrigued me is that France is unapologetic about "commissioning" France-based works. It's how they keep their tradition and culture alive. Duh?! As a playwright/performer here in America, all the artists are up-in-arms calling it fascist that the Trump administration is doing the same, (not that I'm a fan AT ALL!) but, these same people call themselves far-left liberals aka socialists. It will boggle the mind. Either way, LOVED this read! Thank you Judy. xx
Lisa, thank you so much! You've touched on something really fascinating - the difference between cultural policy and political control.
What makes the French model work isn't just that the government funds culture. It's how they do it. The CNC operates at arm's length from political interference. Funding decisions are made by industry professionals and cultural experts, not politicians. Netflix pays in, but the government doesn't dictate what Netflix makes - the creative community does.
The key distinction: France funds the conditions for culture to flourish (training, infrastructure, distribution), not specific political messages. They're investing in the ecosystem, not commissioning propaganda.
As a playwright, you'd probably appreciate this: French theatre gets similar support - subsidised venues, training programmes, audience development - without the government telling artists what stories to tell or how to tell them.
The "unapologetic" part you mention is what I find most interesting. France doesn't apologise for believing their culture is worth protecting and investing in. That's not nationalism, it's cultural confidence—big difference.
Thanks for engaging so thoughtfully with this! Your perspective as an artist adds so much to the conversation.
Jx
Is it contradiction or consistency? You make a good case for intelligent regulation that others might demonise!
Moving to Ireland and attending a showing at a cinema for the first time, we were astonished at the difference of that experience to the comparable one in the US we'd left behind. Yes, some things were the same--the sales of popcorn and candies, large paper cups of drinks, etc. But the behaviour in the theatre was different: noisy at times, and at the end of the showing people just discarded their waste on the floors, leaving devastation in their wake, and work for the crews that were ready to come in and clean it all up before the chaos erupted at the next showing. This is not what we expected in a country that created a national "tidy towns" competition!
Similar surprise when attending our first cinema experience in France: these are civilised spaces. Often the seats are luxurious and spacious (with no integrated drink holders, by the way). They are clean. People are quiet and do not tolerate noise--not even the sound of a candy wrapper being manipulated. Alors, l'autre côté de la médaille--its the social aspect of what the audience expects. And your article reveals how embedded in the culture that expectation is.
John, what a wonderful reflection... thanks so much. And yes, you’ve put your finger on something essential: the line between contradiction and consistency is often cultural, not political.
What you describe about Ireland, the US, and France is exactly why I find the French cinema ecosystem so revealing. It isn’t just regulation shaping culture, and it isn’t just culture shaping behaviour; to me, it seems like a loop. The policies create the conditions, but the audience completes the picture.
Here's what I love...in France, cinema isn’t treated as entertainment alone; it’s treated as a shared public space. That expectation of civilité you noticed, the quiet, the care, the sheer respect for the room, is as much a part of the cinematic experience as the film itself. And it’s no accident. When a nation invests in film as cultural heritage, audiences respond by behaving like custodians rather than consumers.
Your “tidy towns” comparison made me smile :) It’s such a perfect illustration. France reverses the equation: instead of tidy streets and chaotic cinemas, they tidy the cultural spaces first. And then the people follow.
I love that your experiences in three different countries reveal the deeper point of the article: intelligent regulation isn’t about controlling behaviour, it’s about setting standards that people actually want to live up to. France expects cinema to be a cultural act — and somehow, people rise to meet that expectation.
Thank you for sharing, John, your views add so much richness to the conversation.
Jx
Great article Judy! the "cultural contradiction" you highlight is very French indeed. I'm exploring similar contrasts for the next topic I'll be writing about for MyFrenchLife: "la ruralité", the French countryside.
Oh how fabulous Lorraine... I can't wait to read that! (she says impatiently sitting here p) )