National Rally Proposes Dismantling France’s National Cinema Centre

The future of French cinema hangs in the balance as the far-right National Rally, led by Marine Le Pen and Jordan Bardella, intensifies its push to dismantle or radically reform the Centre National du Cinéma (CNC), the cornerstone of state support for the French film industry. According to POLITICO and verified budget documents from 2024 and 2025, the party has already floated proposals to eliminate or redirect funding for the CNC, arguing that the heavily indebted French state should not continue to subsidize what it calls “left-wing and woke” films that fail at the box office.

As the Cannes Film Festival kicks off, the prospect of a far-right government taking power has sent shockwaves through France’s entertainment sector. The CNC, which generated €12.6 billion in economic value in 2022 and employs over 260,000 people, faces existential threats if the National Rally’s plans come to fruition. The party’s lawmakers, including Philippe Ballard, have openly criticized the CNC’s funding model, arguing that it is out of touch with the financial realities of ordinary French citizens.

“People from the cinema world live in another reality,” Ballard told POLITICO. “They are not aware of the financial problems of the French.” His constituents, he said, “roll their eyes” at the idea of state-backed cinema when they struggle to afford basic necessities. The party’s proposals come amid broader efforts to cut public spending, with the CNC already seeing a €450 million reduction in its cash reserves for 2025—a move described by the government as a “reasonable” solution to reduce the state’s debt, rather than a direct attack on the industry.

However, the stakes are far higher than mere budget adjustments. The CNC’s funding model, which relies on taxes from cinema tickets, television broadcasters, internet service providers, and streaming platforms, has been instrumental in maintaining France’s status as a global leader in film production. The party’s rhetoric suggests a deeper ideological battle over the role of culture in French society, with critics warning that dismantling the CNC would not only harm the industry but also undermine France’s cultural sovereignty.

Olivier Henrard, president of the CNC, has sought to reassure the industry, stating that even after the €450 million cash reserve reduction, the organization will continue to support the same number of films. “We will not be supporting fewer films,” Henrard said, emphasizing that the move is a one-time measure to address past pandemic-era subsidies and align with recommendations from France’s Court of Auditors.

Despite these assurances, the broader political context casts a long shadow. The National Rally’s proposals reflect a broader trend among far-right governments to co-opt and reshape cultural institutions, often with the aim of promoting nationalist agendas. In France, this could mean a fundamental shift in the types of films and stories that receive state support, potentially marginalizing independent and politically progressive voices.

For now, the CNC’s immediate future appears secure, with its core funding mechanisms intact and its 2025 budget largely preserved. But the looming 2027 presidential election—and the possibility of a National Rally victory—has left filmmakers, producers, and industry leaders on edge. The question remains: Will France’s cinematic legacy survive the political storm, or will it become a casualty of ideological battle?

As the Cannes Film Festival showcases the best of French and international cinema, the debate over the CNC’s future underscores a critical moment for the industry. The choices made in the coming months will not only shape the economic viability of French filmmaking but also its artistic and cultural identity.