“I no longer make films”, confirmed a few days ago the actress Adèle Haenel in an interview with the german magazine FAQ. The Parisian clarified why she has been missing from the cinema since 2019, when she accumulated nominations for Portrait of a woman on fire, he yelled “What a shame!” while he left the audience of some César awards that applauded Roman Polanski and never heard of her on the big screen again. Haenel knows why she has gone to the theater: “For political reasons. Because the film industry is absolutely reactionary, racist and patriarchal. We are wrong if we say that the powerful have good will, that the world is moving in the right direction. Not at all. The only thing that structurally moves society is social struggle. And it seems to me that, in my case, leaving it is fighting. I want to participate in another world, in another cinema, ”she settled.
In an earthquake on Twitter’s five scale – moderate, it does not reach a trend, but with sufficient magnitude to cross the algorithms of the Twitter Feminist™ and the one that tolerates the least challenges, the Twitter cinephilia™ —, the reactions to Haenel’s declarations moved between the mourning felt for his escape, a fiery ideological approval with fire emoji and, to the surprise of no one in this blessed demon network, who did not miss the opportunity to call her a complainer and, on top of that, little woman.
Beyond the viral tweet, a calm reading of that interview added why he left the filming of the empire, by Bruno Dumont: “The script was full of jokes about cancel culture and sexual violence. I tried to discuss it, because I thought a dialogue was possible […] They make fun of the victims. The intention was to make a science fiction movie with a white cast and a racist narrative. I didn’t want to support this.” Go with Adèle. What a 33 years of security and not those of my professional resume. I would be lying if I said that I did not feel cramps of envy and that rivers of oxytocin were not released at all thinking of sending that same link to my group of friends solemnly announcing: “I am retiring from work because it is reactionary, racist and patriarchal”. I know he wouldn’t have complained there. They would have even ordered t-shirts with the slogan to celebrate it.
I don’t know about yours, but in my algorithmic and personal bubble I have a surplus of women with shattered ambition. Professionals who give up pompous promotions because they have understood that nobody wants to be the head of a system if it only serves to wither them in their chair. Adults crying softly in the bathroom at work, unable to keep up and on the verge of collapse, escaping in their free time and taking their bodies to the limit to try to feel something during that time. And if we all left, who would stay? A few days ago the fantasy of the Great Renunciation as a symbol against a voracious system collapsed. Emma Goldberg told it in a report in New York Times, where he confirmed that, in reality, all those who resigned never left: they are still there, producing tirelessly, only in another cubicle with better views of their email. “People have wanted to see this as a rejection of work, but I have seen it as people capitalizing on a large number of job opportunities,” a national hiring director explained in the report, throwing a slab of reality at that attempt at utopia, to the hidden privileges of being able to say “no”: “People have to pay their bills”.
Those of us who fantasize about evaporation were warned by bell hooks in The desire to change when she wrote that it is “a fiction of false feminism” to imagine that women could find our power in a world that denied connections with patriarchy. Understood, destroy it from within, but: What if we all go, but really?, insists my mind. Then it always comes back the bitter response of a wise friend: “We can’t. if they go the good onesBlackstone wins.”
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Adèle Haenel: What if we all go?
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