The recent decision by the Cinemateca Francesa to cancel the screening of the classic film Last Tango in Paris has ignited fierce debates surrounding the limits of freedom of expression in contemporary culture. Originally scheduled as part of a tribute to Marlon Brando, this film has found itself at the crossroads of artistic integrity and social sensitivity, thrusting unresolved issues of power dynamics, cultural representation, and censorship back to the forefront of public discourse.
Announcing the cancellation, the institution stated, "The security of our staff and our audience is above any other consideration," highlighting the rising tensions and threats the screening faced from activist groups advocating against perceived representations of violence against women. Social media campaigns against the film have gained traction, leading the Cinemateca to prioritize safety over the act of screening.
Last Tango in Paris, directed by Bernardo Bertolucci and released in 1972, has stirred discussions since its inception, particularly around its provocative narrative which centers on the tumultuous relationship between Paul, played by Brando, and Jeanne, portrayed by Maria Schneider. Both characters engage in increasingly intimate encounters against the backdrop of grief and emotional turmoil. Yet, it is one specific scene—involving the use of butter during anal intercourse—that has repeatedly drawn the spotlight and debate.
The late Schneider, reflecting on her retrospective experiences with the film, expressed concerns over the lack of consultation she received about the inclusion of this scene, declaring it as perpetuating violence. This dichotomy has spurred various feminist commentators, such as journalist Chloé Thibaud, to assert unequivocally, "This film has only one smell: the culture of violation.”
Despite these condemnations, many defenders argue the film transcends simplistic labels and instead offers complex characters facing emotional and ethical dilemmas. Critics of the film center their arguments on the perception of victimization attributed to Schneider’s character, thereby minimizing the proactive decisions she makes throughout the film’s narrative arc. Notably, the film culminates with Jeanne rejecting Paul and even resorting to violence when faced with emotional manipulation, showcasing her agency contrary to claims of victimhood.
Noteworthy is the irony surfacing from the criticism of Last Tango in Paris; those who are now advocating for its censorship are often from circles once known for championing artistic freedom and sexual liberation. Sandrine Rousseau, chair of the committee investigating sexual violence and sexism (VSS) in film, has emphasized the problematic aspects of the Cinemateca's decision, signaling the need for accountable representation for the sake of cultural integrity.
Interestingly, almost simultaneously, French literature and educational content urging exploratory discourse on sexuality receives tacit approval, drawing stark contrasts between literature with explicit content aimed at adolescents and the condemnation directed at Last Tango in Paris. This neglect points to what some critics describe as hypocrisy pervading current cultural dialogues—a hypocritical dual standard, which jeopardizes the idea of permissible discourse on sexual dynamics.
The overarching question remains: should artistic expression adapt to contemporary morals and societal sensitivities, or must it retain fidelity to historical contexts, even those deemed uncomfortable or challenging? The scene crafted within Bertolucci’s film may embody sexual tension and emotional tumult, prompting cultural questions around intimacy and extenuated human connections, but does it, instead, invite censorship and amendment according to present-day sensitivities?
Rather than retreating to the realms of victimization, some argue audiences should adopt more nuanced views of sexual representation. Catherine Millet articulates such sentiments, stating, "I do not like how they used the definition of rape," echoing larger discussions on the semantics and generational binary surrounding consent, sexuality, and artistic interpretation. She argues this dismissal of nuanced sexual dialogues can perpetuate misunderstanding, particularly as the young generations grapple with increasingly restrictive definitions surrounding consensual exchanges, potentially leading to what Ms. Millet describes as the “purifying wave” characteristic of regressive ideological movements.
Through this incident involving Last Tango in Paris, attention is drawn not only to the changing attitudes toward sex, power, and representation but also to the societal impulse driving this new wave of censorship, presenting culture scholars with renewed inquiries: Are we seeing merely the evolution of discourse surrounding consent, or have we begun to witness what might very well be considered cultural authoritarianism?