Benjamin Biolay and Camille Cottin in the film “A few days no more” by Julie Navarro. © June 31 Films
Benjamin Biolay and Camille Cottin in the film “A few days no more” by Julie Navarro. © June 31 Films
MOVIE THEATER – “ Disgusting », « the French first », « that these 2 armored bohemian “artists” welcome them into their homes instead of making films “. Here is an example of the comments received on the film A few days no more with Benjamin Biolay and Camille Cottin, and denounced by its director Julie Navarro.
Released on April 3, the feature film tells the story of a former journalist who agrees out of love to welcome Daoud, an Afghan migrant. A pitch which generated violent attacks in comment spaces, to the point that the Society of Film Directors (SRF) denounced online hatred “ blind, uninhibited and anonymous », in a press release. The text was taken up by Julie Navarro and Benjamin Biolay on their respective Instagram accounts, this Monday, April 22.
These comments appeared as soon as the trailer was put online, revealed a few weeks before the film’s release, whether on the feature film’s website or on its Facebook page. Enough to force production to “ delete one by one the 971 (!) hateful messages from the film’s Facebook page.
This relentlessness, denounces the SRF, has also continued on specialized film review sites. “ Hundreds of bad ratings on its Allociné page before and on the day of its release to dissuade spectators from going to see it », denounces the press release.
In this regard, the SRF also asks the French criticism site to “ set up a system to check that people posting a comment on a film have actually seen it – or at least – to inform visitors if this is the case or not – as is done on other equivalent sites “. AlloCiné reacted and blocked certain ratings, the average now being 3.4 stars out of 5.
Raids that influence the freedom to create
Furious, Julie Navarro denounces on Instagram “ buckets of vomit, hateful, racist and uninhibited comments “. It also warns of the deleterious effect of these raids carried out by “ an organized gang » on the whole of film production: “ I think of all the filmmakers (knowing that all this of course goes beyond the scope of cinema) who have suffered from this very organized strategy of the far right which works quite well in fact.
It even influences content creation, we don’t want trouble, we renounce certain actions or certain subjects. No more need for censorship… »
For its part, the SRF requests once again to the public authorities to find a framework capable of guaranteeing effective freedom of dissemination of works and their publicity, while ensuring the free exercise of criticism ».
This is not the first time that films have suffered such episodes of denigration. Amen (2016) by Philippe Faucon, Rodeo (2022) by Lola Quivoron et The Committed (2022) by Émile Frêche had already received this same treatment and relentlessness.
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