Chanel's Grand Revitalization of Historic Parisian Cinema
A distinguished group comprising French business magnates, publishing figures, and film professionals has united to rejuvenate one of Paris's most iconic cinematic destinations. At the forefront of this revitalization is the luxury brand Chanel, acting as the principal benefactor for the reopening of the historic Le Saint-Germain-des-Prés cinema.
The cinema, located on the Left Bank, recently celebrated its grand return to public life after a decade-long hiatus. The inaugural event featured a special screening of Paweł Pawlikowski's 'Fatherland,' a Cannes competition entry. This prestigious occasion was graced by Cannes Film Festival director Thierry Frémaux and Gaëtan Bruel, president of the CNC, who seized the opportunity to ardently advocate for France's unique theatrical distribution system amidst increasing political scrutiny. The cinema, once known as the Bilboquet and later the Olympic Saint-Germain, has a storied past, having hosted premieres for renowned filmmakers like François Truffaut, Éric Rohmer, and Costa-Gavras, whose political thriller 'Z' enjoyed an impressive 20-week run following its 1969 release.
The visionary initiative is spearheaded by an eclectic consortium of stakeholders, including producer Charles Gillibert and investment banker Grégoire Chertok. Gillibert, fresh from the Cannes Film Festival where he presented the Grand Prize-winning 'Minotaur,' is a key figure. Chertok, a long-standing supporter of the film industry and an ardent cinema enthusiast, was instrumental in establishing the Cannes Film Festival's first fund and recently received the Legion of Honor from Bruel. Other notable individuals involved are Éric Lenoir, director of Cahiers du Cinéma and president of the Saint-Germain-des-Près cinema; Alexis Dantec, co-owner of Les Films du Losange; Jean-Sébastien Decaux, who acquired Galatée Films; Vera Michalski-Hoffmann, a Swiss publisher and philanthropist; Hugo Rubini, founder of Rubini & Associés; Georges Rocchietta, co-founder and chairman of Atland; and Sylvain Mortera. The cinema's new managing director, Mathilde Lamour, envisions the Saint-Germain-des-Prés as a permanent sanctuary for film lovers, offering a diverse program of contemporary auteur cinema, classic repertory screenings, filmmaker discussions, retrospectives, and festival events. Lamour stated that the venue would be 'a home for all cinemas,' representing 'all countries, languages, and genres: fiction, drama, comedy, and documentary.' Bruel paid homage to the cinema's rich legacy while emphasizing its contemporary significance, asserting that the reopening symbolized 'resistance' rather than mere 'nostalgia.' He highlighted the political battles ahead, especially in a pre-election climate where the future of French cultural policy is under debate. Bruel underscored the French model's success, citing a 20% increase in attendance and French films accounting for 44% of the domestic market, contrasting this with the challenges faced by the American film industry's 'overly financial, overly corporate approach.' He concluded by emphasizing that the French model prioritizes public interest over purely commercial objectives, fostering a 'genuinely thriving' film culture. He particularly lauded Chanel's crucial role, praising its unwavering commitment to filmmaking through various partnerships, film restoration efforts, and festival support. Frémaux, in introducing Pawlikowski's film, echoed Bruel's sentiments on cinema as a public good, commending Pawlikowski's unique artistic vision and recalling the success of his Oscar-winning film 'Ida.' He described 'Fatherland' as a powerful portrayal of postwar Germany and the trauma of exile, executed with precision by a filmmaker at the peak of his abilities. The opening program, curated by Lamour, truly embodies her vision of the Saint-Germain-des-Prés as a diverse cinematic hub. Beyond 'Fatherland' and 'Roma Elastica,' the cinema will showcase several other Cannes selections, including Emmanuel Marre's 'A Man of Our Time,' Charline Bourgeois-Tacquet's 'A Woman’s Life,' and Andrey Zvyagintsev’s 'Minotaur,' before transitioning to a mix of repertory screenings. Lamour stressed the growing necessity for intellectual exchange and discussion, declaring, 'Saint Germain des Prés is here for that.'
The revival of Le Saint-Germain-des-Prés stands as a powerful testament to the enduring value of culture and community. In an era where commercial interests often overshadow artistic endeavors, this initiative championed by Chanel and dedicated cinephiles reinforces the idea that cinema is not merely entertainment but a vital public good, a space for shared experiences, critical discourse, and the preservation of global artistic heritage. This inspiring effort demonstrates how collaboration and passion can safeguard cultural institutions and enrich society for generations to come, promoting a brighter, more vibrant future for cinematic art.
