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"Why is it that cinema, a breeding ground for socially committed works, seems to be so indifferent to the horror of reality and the oppression suffered by our sisters and brothers?"
On Monday, in the lead-up to the annual Cannes Film Festival in France, nearly 400 international actors, directors, and producers released an open letter condemning Israel's genocide in the Gaza Strip.
The letter—published by French newspaper Libération and U.S. magazine Variety—begins with Fatma Hassona a 25-year-old Palestinian freelance photojournalist killed in an Israeli military strike on April 16, 2025, just a day after it was announced that Sepideh Farsi's film Put Your Soul on Your Hand and Walk, in which she stars, was selected to premiere at a section of the festival.
Just weeks earlier, in March, "Palestinian filmmaker Hamdan Ballal, who won an Oscar for his film No Other Land, was brutally attacked by Israeli settlers and then kidnapped by the army, before being released under international pressure," the letter details, noting that the Academy of Motion Picture Arts and Sciences was pushed to apoloize for not adequately supporting him.
"We are ashamed of such passivity," asserted the signatories, including Pedro Almodóvar, Javier Bardem, Ralph and Sophie Fiennes, Richard Gere, Jonathan Glazer, Viggo Mortensen, Cynthia Nixon, Ruben Östlund, Guy Pearce, Laura Poitras, Mark Ruffalo, and Susan Sarandon.
"Let us collectively dare to look at it with the precision of our sensitive hearts, so that it can no longer be silenced and covered up."
"Why is it that cinema, a breeding ground for socially committed works, seems to be so indifferent to the horror of reality and the oppression suffered by our sisters and brothers?" they asked. "As artists and cultural players, we cannot remain silent while genocide is taking place in Gaza and this unspeakable news is hitting our communities hard."
In addition to condemning silence in the face of genocide, they argued that "far-right, fascism, colonialism, anti-trans and anti-LGBTQIA+, sexist, racist, islamophobic, and antisemitic movements are waging their battle on the battlefield of ideas, attacking publishing, cinema, and universities, and that's why we have a duty to fight."
"Let's refuse to let our art be an accomplice to the worst," the letter declares. "Let us rise up. Let us name reality. Let us collectively dare to look at it with the precision of our sensitive hearts, so that it can no longer be silenced and covered up. Let us reject the propaganda that constantly colonizes our imaginations and makes us lose our sense of humanity."
Iranian filmmaker Sepideh Farsi looks at a portrait of the late Palestinian photographer Fatima Hassona at her home in Paris, France on May 5, 2025. (Photo: Joel Saget/AFP via Getty Images)
Farsi—who also signed the letter—welcomed the impact of her film featuring Hassona but also called on Cannes organizers to denounce Israel's ongoing assault on Gaza, which has killed over 52,900 Palestinians since October 2023 and left the enclave's more than 2 million survivors struggling to access essentials, due to an Israeli blockade on humanitarian aid.
"There needs to be a real statement," Farsi
toldAgence France-Presse. "Saying 'the festival isn't political' makes no sense."
"We won't be able to make movies for the same budgets, actors won't get paid the same fees, and the list goes on," said one film professional. "Simply, it would destroy the independent sector."
U.S. President Donald Trump's announcement via social media Sunday evening that he would "begin the process of instituting a 100% Tariff" on films produced in foreign countries was met with confusion and shock in the U.S. entertainment industry and abroad, with filmmakers cautioning that such extreme levies would render many productions impossible and do nothing to save what the president called the "dying" movie industry.
On his social media platform, Truth Social, Trump took issue with "incentives" that have pushed filmmakers to shoot projects outside of the U.S., not only saying that the industry centered in Hollywood is "being devastated" but also suggesting that simply traveling to other countries to produce films leads to foreign "propaganda" being embedded in the final products.
"This is a concerted effort by other Nations and, therefore, a National Security threat," said Trump. "It is, in addition to everything else, messaging and propaganda!"
Commerce Secretary Howard Lutnick suggested the administration is moving to implement the president's plan, writing, "We're on it" in his own social media post.
While the vast majority of U.S. films are already produced mainly in the U.S.—providing jobs to actors, editors, and other production staff—many major studios including streaming giants Amazon and Netflix have brought their production shoots to cities like Toronto and Dublin, where local leaders have offered large tax breaks.
California Gov. Gavin Newsom, a Democrat, is currently addressing the effects those foreign tax incentives have had on working film professionals in Southern California—including makeup artists, camera operators, electricians, and other middle-class workers—by pushing for a tax credit for studios to film locally. The state Legislature is currently considering that proposal.
"Putting a tariff on movies shot outside the U.S. will increase the cost of shooting and the studios will lobby the exhibitors to raise ticket prices and then the audience will skip the theater and then... well you see where this is going."
But by "instituting a 100% Tariff on any and all Movies coming into our Country that are produced in Foreign Lands," film industry veterans said Trump would not succeed in bringing production jobs back to the United States—but would rather make all but the biggest budget films impossible to produce.
"This is NOT the effect this is going to have," one industry professional toldDeadline. "It will make low- and mid-level productions completely unproducable, hence destroying many jobs from producer assistants to writers to post-production. Further, it will lessen the amount of big budget content created because the studios won't be able to make as much because the cost of production will be more."
An official at a top U.S. film company that produces movies both domestically and internationally told Deadline that international film distributors will be less likely to buy U.S. films under Trump's new tariff plan.
"It affects domestic distribution deals but it also impacts equity players who have money in movies because their films will suddenly be worth less money," they said. "We won't be able to make movies for the same budgets, actors won't get paid the same fees, and the list goes on. Simply, it would destroy the independent sector."
Exactly how the proposed policy would be implemented was unclear from Trump's social media post, but U.K.-based producer told Deadline that "leading independent distributors would all be out of business if it's them" who have to pay the tariffs.
A source close to the White House toldPolitico that the tariff policy originated with actor Jon Voight, a strong supporter of Trump who—along with Mel Gibson and Sylvester Stallone—has been named one of Trump's "special ambassadors" to Hollywood.
Deadlinereported last week that Voight was meeting with studios and union representatives in Hollywood to discuss a plan to revive the film industry, with "a federal tax incentive" expected to be a main component.
Voight's fellow ambassador, Gibson, is one Hollywood player who could be directly impacted by Trump's proposed tariffs; his film, a sequel to The Passion of the Christ, is scheduled to begin filming in Italy this summer.
"Putting a tariff on movies shot outside the U.S. will increase the cost of shooting and the studios will lobby the exhibitors to raise ticket prices and then the audience will skip the theater and then... well you see where this is going," wrote producer Randy Greenberg in a post on LinkedIn after Trump announced his plan.
The Washington Post reported that Trump could rely on a provision of a 1962 trade law that he has used in the past to impose tariffs on goods; the law gives the Commerce Department 270 days to complete an investigation into alleged national security threats created by certain imports.
"Other nations have stolen our movie industry," Trump told reporters on Sunday. "If they're not willing to make a movie inside the United States, we should have a tariff on movies that come in."
At The Guardian, film editor Andrew Pulver wrote that Trump's plan appears aimed at destroying "the international film industry":
The effect of any tariff is likely to be dramatic. Recent figures from the British Film Institute (BFI) show that in 2024 £4.8 billion ($6.37 billion) of production spend on film and high-end TV in the U.K. came from international sources, 86% of the total spent on film and TV made in Britain. In Australia, the film industry stands to lose up to AUS $767 million. A program of studio building in the U.K., designed to increase capacity and therefore revenue, is likely to feel the chill almost immediately. And the effect on the domestic industry in the U.S. is forecast to be adverse, as production costs rise without the injection of overseas tax incentives, with mid-level projects potentially wiped out.
Despite Trump's claim that the industry is "dying," according to the Motion Picture Association's latest economic impact report, the U.S. film industry had a $15.3 billion trade surplus in 2023 and $22.6 billion in exports.
An executive at a U.S. distribution company expressed hope to Deadline that Trump's threat would encourage "desperately needed increases in U.S. state tax incentives being implemented ASAP."
"Can't see his target here," they said, "other than confusion and distraction."
Are entertainments like these seriously acknowledging the deep-seated anxieties—and anger—that Americans are feeling today? Or is the entertainment industry just shamelessly exploiting those anxieties and that anger?
America’s richest have never been richer. Our over 800 billionaires ended 2024 worth a combined $6.72 trillion. Today, almost two months later, Americans make up 14 of the 15 richest people in the world. Just these 14 alone hold a combined net wealth of over $2.5 trillion.
One predictable consequence of numbers like these: Our world’s “super yacht” sector is doing spectacularly well, as the annual Miami International Boat Show this month convincingly confirmed. The star of this year’s show turned out to be a super yacht nearly the length of a football field.
Drivers on America’s highways and byways, meanwhile, are now needing to make room for the newly released latest luxury super car from Rolls-Royce. The new Black Badge Spectre can “sprint from zero to 60 mph in just 4.1 seconds.” The base price: a mere $490,000.
We need more, let’s all agree, than shows and movies that skewer the rich.
Amid all this excess, the fortunes—and power—of America’s most fortunate just keep mounting ever higher. At the expense of the rest of us. The world’s wealthiest billionaire, Elon Musk, has found an particularly lucrative new hobby: axing the jobs of federal employees working at agencies that protect the health and economic security of average Americans.
Researchers and analysts worldwide are, for their part, continuing to carefully track the ongoing—and historic—concentration of America’s wealth. But Hollywood, these days, may actually be tracking this concentration even closer.
The wealth, privileges, and formidable clout of our richest, Hollywood understands, are outraging average Americans. We’ve become a nation hungry for entertainment that expresses that outrage, and Hollywood has been all too happy to offer up that entertaining.
“The popularity of ‘eat the rich’ media—like Saltburn, White Lotus, Parasite, Triangle of Sadness, The Menu, Infinity Pool, The Fall of the House of Usher, and the Knives Out movies—has reached a fever pitch,” as the culture critic Kelsey Eisen puts it.
This “vilification of the rich,” adds Eisen, regularly includes “rich characters undergoing some terrible event—ranging from marital troubles to shipwrecks to even death—as some sort of comeuppance for being wealthy.”
“We do love watching the 1% get their comeuppance, don’t we?” agrees Adrian Lobb, another widely published and perceptive writer on contemporary culture.
Lobb last year interviewed Jason Isaacs, one of the stars of The White Lotus, an Emmy Award-winning comedy drama created for HBO. Isaacs told Lobb that he also “absolutely” loves the joy of the “comeuppance” moments swirling all around us.
“We watch these people who look like they’ve got everything,” Isaacs explains, “and console ourselves with the fact that they’re miserable as hell.”
The White Lotus features “sun, sea, sex” and super-rich secrets, notes the culture analyst Lobb, “with a side order of slaying.” Each season of the series showcases a set of gastronomically obsessed wealthy out to enjoy life at an exotic luxury resort, with no guest, quips writer and filmmaker Alyssa De Leo, “safe from being skewered—figuratively and literally.”
Another skewering of the “successful” takes place, De Leo observes, in the widely acclaimed film Triangle of Sadness, the story of an ultra-wealthy cruise ship that sinks and leaves the survivors “stranded on a desert island” with “the upper-class guests lacking any resources or knowledge of how to survive.”
Still another popular entry in the “comeuppance” genre, the thriller You’re Next, has a wealthy family celebrating an anniversary in a country mansion that masked assailants suddenly besiege. The assailants turn out to be hired guns that some members of the family had retained to ensure and hasten the inheritances they saw as their due.
And atop the genre’s most-watched list sits Squid Game, “one of Netflix’s most important and impactful television shows ever.” This “too-close-for-comfort dystopian thriller,” the Observer’s Brandon Katz celebrates, “cleverly spins socioeconomic inequality into thriller life-or-death games.”
Are entertainments like these seriously acknowledging the deep-seated anxieties—and anger—that Americans are feeling today? Or is the entertainment industry just shamelessly exploiting those anxieties and that anger? Are “eat the rich” films and series, as the arts critic Kelsey Eisen muses, “moving the political conversation forward” or merely “providing soothing, satisfying, and self-congratulatory entertainment”?
Eisen herself sees the answer to that question through the latter prism. She considers “eat the rich” entertainment as “less of a political statement and more of a soothing concession,” as “basically class-anxiety pornography, pure catharsis without a real message or call to action.”
Even so, Eisen readily confesses that she does indeed enjoy watching many of today’s “eat the rich” shows and movies and does see real value “in using art to encapsulate popular sentiments and anxieties and to normalize progressive sentiments.”
So should you dare enjoy “class anxiety-soothing media”? Sure, Eisen concludes. Just be sure that this media “doesn’t soothe you into being too complacent to ever actually do anything” to end that class anxiety.
Amen. We need more, let’s all agree, than shows and movies that skewer the rich. We need, now more than ever, a political movement powerful enough to break the billionaire lockgrip on our future.