The key facts
- Signatories of the Le Monde column estimate losses of 400 films over five years (about 80 per year) and €750 million in funding between 2028 and 2032
- Reduction of France Télévisions' budget by €47 million and Philippe Juvin's proposal to seize €35 million from CNC
- The government is considering raising VAT on paid TV subscriptions from 10% to 20%, which, under the interprofessional agreement, could exempt Canal+ from investment obligations
Cinema Professionals Oppose the 2027 Budget Project
In a column published in the newspaper Le Monde, directors and producers warn that measures currently being debated in parliament as part of the 2027 finance bill draft could seriously damage the French film funding system. According to their assessment, this could result in the disappearance of 400 films over five years — approximately 80 films per year. Among the signatories are Jacques Audiard, Costa-Gavras, brothers Luc and Jean-Pierre Dardenne, Claire Denis, Michel Hazanavicius, Agnès Jaoui, Justine Triet, Julia Ducournau, Cédric Klapisch, and Alice Winocour. "The new finance bill could lead to an unprecedented disappearance of French cinema from our screens," they write. The authors criticize the accumulation of measures weakening the two pillars of industry funding: public funds and private investments.
Reduction of State Support
Industry representatives recall that the budget of France Télévisions, which participates in financing about 70 films annually, is set to be reduced by €47 million by 2027. Additionally, Philippe Juvin, the general rapporteur for the budget from the "Republicans" party, proposes seizing €35 million from the resources of the National Centre for Cinema and the Moving Image (CNC) in 2027 to return part of the additional revenue from changes in advertising taxation to the state. CNC redistributes funds for scriptwriting, production, promotion, and film distribution. The signatories emphasize that the center is funded through specific levies on cinema tickets, television, streaming platforms, and remuneration for private copying (smartphones, tablets, external hard drives, USB drives), meaning it costs taxpayers not a cent. They also highlight the economic weight of the industry: 260,000 jobs (compared to 400,000 in the automotive industry), regional filming, and a dense network of cinemas across the country.
Threat of VAT Increase for Canal+
The second serious threat concerns the private sector, primarily Canal+ — the largest private investor in French cinema, which is legally required to reinvest part of its revenue into national film production. The government is considering doubling the VAT rate on paid television subscriptions by 2027 — from 10% to 20%. To compensate for the additional costs, the channel might pass them on to subscribers or reduce its film investments. However, this is currently only a budget draft under review; there are no guarantees that the VAT increase will remain in the final version. Filmmakers recall that the interprofessional agreement signed at the end of July stipulates that any VAT increase for Canal+ would invalidate its investment obligations. According to their assessment, this would lead to a reduction in funding of €750 million between 2028 and 2032. The most fragile projects, which already struggle to assemble a budget, would be hit hardest.
Paradox in Relations with Canal+
The situation appears paradoxical: in May, during the Cannes Film Festival, several signatories participated in the "Zapper Bolloré" movement, initiated by approximately 600 film professionals against the growing influence of Vincent Bolloré on the industry, including through Canal+. At that time, Canal+ CEO Maxim Saada stated he no longer intended to work with the signatories. A few months later, some of these same filmmakers are warning about the consequences of a VAT increase for Canal+, whose investments remain crucial for French film production. This paradox highlights how dependent French cinema is on a player whose influence is openly contested by part of the professional community.
Call for a New Cinema Law
Beyond budgetary measures, the signatories call for a complete revision of the industry's legislative framework, which is still largely regulated by the 1986 audiovisual law. They advocate for a comprehensive cinema law enshrining the "media chronology" — the French rule establishing the timeframes after theatrical release during which a film can appear on various platforms, from VOD and free-to-air channels to Netflix. The authors also seek clearer regulation on the use of artificial intelligence and the preservation of CNC's mission. They urge parliamentarians to support amendments proposed by professional organizations to protect the public audiovisual sector, the CNC budget, and to maintain the 10% VAT rate for Canal+ in exchange for commitments to support film creation. In their view, against the backdrop of content standardization, for which they hold major American platforms like Amazon Prime, Disney+, and Netflix responsible, this is about protecting France's cultural influence: "Weakening our cinema means impoverishing our French and European identity."
