The response of Canal+ boss, Maxime Saada, following a column denouncing the “growing influence of the far right” in cinema, has plunged the Cannes Film Festival into a unprecedented political and cultural controversy. Between accusations of a “blacklist,” concerns about freedom of expression, and defense of the French cinema financing model, the issue is causing embarrassment even for the government.
Like a spanner in the works or rather a stain on the red carpet of the Croisette: the 2026 edition of the Cannes Film Festival this year has been marked by a fierce controversy between hundreds of artists and the Canal+ group, the main financier of French cinema, to the point of worrying even the government, concerned about preserving the framework of French cultural exception. It all started with a column.
The “blacklist” of Canal+?
Published at the opening of the festival on May 11, the text denounced the “growing influence of the far right” in French cinema through the influence of billionaire Vincent Bolloré, a major shareholder of Canal+. Among the first signatories were Juliette Binoche, Swann Arlaud, Adèle Haenel, and Jean-Pascal Zadi. Inspired by the rebellion already engaged in the edition against Bolloré by several hundred authors published by Grasset — among whom the billionaire ousted CEO Olivier Nora — the column aimed to alert to what the authors consider as an increasingly strong ideological and economic concentration in the cultural sector.
But the text truly sparked a shockwave only after Maxime Saada’s response. On Sunday, May 17, the chairman of Canal+ called on his group to “no longer work” with the signatories. A statement that immediately overshadowed the Cannes competition, raised the specter of a “blacklist” in an already economically fragile environment, and ultimately confirmed the fears expressed by the signatories.
Quickly, reactions multiplied on the Croisette. Actress Adèle Exarchopoulos believed that “one should not be afraid of losing one’s job just for expressing a collective concern.” Producer Alain Attal denounced “a great mess,” while recalling the central role played by Canal+ in supporting the diversity of French cinema. Every year, the group invests around 170 million euros in the sector and finances both large popular productions and art films.
This central position also explains the unease of part of the profession. Several producers and directors distanced themselves from the column, claiming not to see any ideological shift in Canal+’s editorial choices. Producer Hugo Sélignac assured that Canal+ continues to support “a different and multiple cinema,” while rejecting the idea of sidelining the signatories. Director Christophe Honoré, on the other hand, stated that Vincent Bolloré rejected the financing of two films. “Vincent Bolloré had said: ‘No loss, no unionist'”, he claims.
The government seeks to tone things down
The controversy quickly spilled out beyond the festival framework. Guillaume Bruel, president of the National Cinema Center (CNC, targeted by the National Rally), regretted a response that “raises questions” about freedom of expression. Martin Ajdari, president of Arcom, called for “coming down a bit after the liveliness of the controversies,” reminding that “cinema needs Canal+ and Canal+ needs cinema.”
Canal+ indeed has contractual obligations regarding the financing and distribution of cinema in France. It invests a minimum of 480 million euros (2025-2027) and makes 255 pre-purchases, supports low-budget films, and maintains the first broadcast window for films six months after release.
Faced with the scale of the issue, the government tried to calm things down. Questioned in the National Assembly, Minister of Culture Catherine Pégu stated that Canal+’s reaction was “disproportionate” and called for dialogue. Without explicitly supporting the column, she believed that “threats” could only fuel sector concerns. At the same time, she also reproached the authors of the text for participating in controversies that weaken the major players in French cultural exception.
Finally, yesterday, the French League for the Defense of Human and Citizen Rights and the CGT Federation of Entertainment filed a lawsuit with the Nanterre judicial court to sue the company Canal+ following Maxime Saada’s remarks.
Over the days, the mobilization has intensified. Over 3,800 cinema professionals have now signed the column. This figure transforms a Cannes controversy into a larger political and cultural crisis, just a year before the presidential election. Between defending freedom of expression, fear of politicization of cinema, and economic dependency on Canal+, the issue reveals the tensions that now run through the entire French cultural industry.
