The Court of Auditors advocates a simplification of CNC aid for cinema financing | EUROtoday

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The entrance to the Court of Auditors, in Paris.

On one aspect the flowers, on the opposite the thorns. It is critical to learn between the traces the report of the Court of Auditors on the National Center for Cinema and Animated Images (CNC), made public on Wednesday, September 20, by the president of the Parisian establishment on rue Cambon, Pierre Moscovici. This doc of round a hundred pages, which examines over greater than a decade (2011-2022) the assorted missions assigned to the CNC, begins by praising this public administrative institution, created in 1946, a true “pillar of French policy of supporting cinema for seventy years”which has been capable of adapt to totally different modifications (digitalization of theaters, arrival of platforms, and so forth.) and distributes, because of selective and automated aid, greater than 700 million euros for the sector.

Throughout the press convention, the previous Minister of the Economy and Finance (2012-2014) underneath François Hollande used a refined vocabulary – to not say that he did the splits –, displaying its help for the creation coverage whereas insisting on the necessity to management the use of “public money” assigned to cinema. “Public money must be managed by a public decision, no one can escape it”he justified himself.

Read additionally: What is the “French cultural exception” in cinema and is it actually at risk?

In doing so, the president of the Court of Auditors has reactivated the talk on the character of aid – public or personal? – dedicated to financing movies. A debate or relatively an open controversy after the declarations of director Justine Triet, who, receiving her Palme d’Or for Anatomy of a fallon May 27, took the general public authorities to activity, accused of wanting “breaking the cultural exception”.

Read the decryption: Can we are saying that “Anatomy of a Fall” is a “subsidized” Palme d’Or?

“Creation of an audit committee”

The Court of Auditors is circumspect in regards to the governance of the CNC, emphasizing “the paradoxical situation of an establishment which sees its already high cash flow and working capital increase over the period – to reach respectively 727 million euros and 818 million euros in 2022 – while its net management results have been negative seven times between 2011 and 2022 ».

Pierre Moscovici demanded “the creation of an audit committee attached to the board of directors, as exists for many cultural establishments”. In this regard, he welcomed the response of the Prime Minister, Elisabeth Borne, who undertook, in her response to the report of the Court of Auditors, “that the CNC revises its budgetary and accounting presentations, in the direction of greater clarity”. And so as to add, all the time weighing his phrases: “The Court additionally wonders why this proposal is just not accepted with extra enthusiasm by the CNC itself. »

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