Five years after the revelations that sparked France’s MeToo and shook the world of cinema, French actress Adèle Haenel is facing director Christophe Ruggia at a Paris criminal court, where he is on trial for sexually assaulting a minor.
“There are no monsters. They are our society. They are with us, they are our friends, they are our fathers. We are not here to eliminate them,we are here to change them”,declared in November 2019 the actress Adèle Haenel in an interview conducted by Mediapart and broadcast live.
Five years later, the 35-year-old actress took her place on monday on the civil parties bench. Christophe Ruggia, 59 years old, who disputes the facts, is on trial at the Paris Criminal Court for serious sexual assault on a minor. The director faces up to 10 years in prison and a fine of 150,000 euros.
MeToo French
The Law and Justice tackled this matter in 2019,after an investigation by the Mediapart site on the facts argued by the actor,who has since withdrawn from the cinema.
Adèle Haenel was 11 years old during the casting of the film “Les Diables” directed by Christophe Ruggia and 12 during filming, in the summer of 2001.
The feature film, excerpts of which shoudl be shown at the trial, tells of the constant restraint of an autistic brother and sister, who where abandoned at birth. A story that becomes incestuous, with several sex scenes between the children and close-ups of Adèle Haenel’s naked body.
“Inappropriate” behavior.
To investigators, the actress told these sequences that made her “very uncomfortable”, others “violent”. She also spoke of the “bubble” in which the director gradually “isolated” her on the set, asking her family not to come, so that she would not be distracted.
It’s not okay,it’s like a few,it’s not normal
Script on the film series Les Diables.
Many professionals have described their “discomfort” with the working conditions imposed on children, and especially with Christophe Ruggia’s behavior on the set, called “invasive”, “out of place”. He would put “his hand on the thigh” of the young actress, “she sat on his knees”.
“It’s not okay,it looks like a couple,it’s not normal,” a screenwriter told herself.
Relationship “under the influence”
After making a film,between 2001 and 2004,the teenager went “every Saturday” evening or almost to the man who told her he “created” her.
The attacks she denies always happened in the same way: he was sitting in an armchair, she was on the sofa. He starts caressing her thighs, goes up “as if nothing”, then touches her sex or chest. “He was breathing hard” and “kissing my neck,” she says. And if she refused, “he responded in shock (…) even though his hand was in my panties”, says the actor.
During the investigation, Christophe Ruggia denied everything. The attacks, the declarations of love, the control. It shows the “sensuality” of the 12-year-old actress on the set.The “positions” Adèle Haenel took on her sofa, her “tongue” movements, “even a porn film”, which made him uncomfortable, even “disgraceful”. He struggled to explain what they were doing for several hours, all those Saturday evenings.
indentation
Adèle Haenel said that she decided to speak publicly in 2019, after learning that Christophe Ruggia was preparing a new film with teenagers. She mentioned these attacks years earlier to those around her personally and professionally, who expressed her discomfort and anxiety attacks.
The French actress who left her mark on the public in “Breith an Octopus”, “120 Beats Per Minute” and especially in “Portrait of the Young Girl on Fire”, won two Césars, for the best actress, in ”Les combattants”. “, and the supporting role, in “Suzanne”. She has since officially retired from filmmaking.
What role has the metoo movement played in changing societal attitudes towards sexual assault in recent years?
Interview Between Time.news Editor and Expert on MeToo Movement
Time.news Editor (TNE): Welcome to our special segment today. We’re honored to have Dr. Isabelle Renard with us, a leading expert in gender studies and the MeToo movement in France. Dr.Renard, thank you for joining us.
Dr. Isabelle Renard (IR): Thank you for having me. It’s a crucial moment to reflect on these issues.
TNE: Absolutely. We’re seeing a significant progress in the ongoing story of MeToo, notably surrounding the trial of director Christophe Ruggia and the powerful stance taken by actress Adèle Haenel. Can you give us context on how we got here?
IR: Certainly. It’s been five years since the initial waves of the MeToo movement began in France, ignited by revelations from various women in the film industry. Adèle Haenel’s bravery in speaking out against her alleged harasser was a pivotal moment for many, inspiring countless others to come forward.
TNE: And now, with the trial currently taking place, it seems like a crucial test for the movement’s impact on societal attitudes regarding sexual assault. What are your thoughts on Haenel’s assertion that “there are no monsters; they are our society”?
IR: That statement is profound and highlights a crucial aspect of the MeToo discourse. It challenges our understanding of perpetrators. They are often people we know, integrated into our daily lives—friends, colleagues, family. This observation allows us to confront the uncomfortable reality of complicity within our social structures.
TNE: That’s a striking viewpoint.Do you think this trial will effect how society perceives and responds to accusations of sexual assault in the future?
IR: It certainly has the potential to reshape narratives. If Ruggia is held accountable, it could serve as a strong message that such behaviors will not be tolerated, nonetheless of a person’s position of power. It might empower survivors to speak out more freely, knowing that the judicial system can support them.
TNE: There’s a sense of urgency and collective action that MeToo has sparked. How do you see this trial influencing the conversation around consent and accountability in artistic communities?
IR: The artistic community has often been a microcosm of broader societal issues, including power dynamics and abuse. This trial can act as a catalyst for dialog, reinforcing the necessity of consent in all interactions. Moreover, it places pressure on artistic institutions to examine their practices and protect vulnerable individuals more effectively.
TNE: It seems that with every revelation, there is both hope and a tremendous challenge ahead. How can we, as a society, ensure that we not only listen to survivors but also implement the changes they are calling for?
IR: It’s vital to create safe spaces where survivors feel empowered to share their stories. Education is key—teaching respect, consent, and healthy relationships should begin early. Additionally, we need policies that hold perpetrators accountable without stigma falling on survivors. The work is ongoing, and every voice matters in this dialogue.
TNE: Dr. Renard, your insights are invaluable as we navigate this complex landscape. Thank you for shedding light on the implications of this trial and the broader MeToo movement.
IR: Thank you for providing a platform for these significant discussions. Only through continuous dialogue can we hope to foster genuine change.
TNE: And thank you to our audience for tuning in. As this trial unfolds, let’s keep the conversation going and strive toward a society that uplifts and supports every individual’s right to safety and respect.