Dominique Besnehard, the former top agent and producer behind the acclaimed series Dix pour cent, stirred controversy during his testimony at the Assemblée Nationale on Thursday, March 13, 2025. The 71-year-old, who has spent fifty years in the cinema industry, challenged actresses who have accused Hollywood heavyweight Harvey Weinstein and French actor Gérard Depardieu of sexual assault. His statements ignited discussions around accountability and the intricacies of power dynamics within the film industry.
At the start of his hearing before the commission of inquiry focused on violence against women within the cinema, Besnehard declared himself part of the "old world" of showbiz. This declaration formed the backdrop for questioning about Gérard Depardieu, for whom Besnehard had previously signed a petition supporting him, citing loyalty toward his daughter, Julie.
During the inquiry, Besnehard addressed the allegations made by actress Charlotte Arnould, who claims Depardieu raped her at his home. This case has serious legal ramifications, as Depardieu has been charged, and prosecutors are currently seeking to bring the matter to trial. Commenting on Arnould's accusations, Besnehard remarked, “Generally, theater classes are held at theaters; you don’t go to the home of an actor.” Such statements have been interpreted as shifting blame onto the victim, demonstrating how complex and controversial discussions around consent and power dynamics can be.
Further down the line of questioning, Besnehard provided insight on the infamous Hollywood figure, Harvey Weinstein, whose downfall rattled the industry following numerous allegations of misconduct from various actresses beginning in 2017. Besnehard implied some actresses courted trouble by visiting Weinstein's hotel rooms during the Cannes Film Festival, ostensibly to advance their careers. He recalled, “When I was an agent, I saw actresses pushing the boundaries. You don't go to a hotel with a director... I’ve even had actresses under my care who went!”
Yet it wasn’t all about placing responsibility on victims. Besnehard praised actresses like Nathalie Baye and Isabelle Adjani for their professional integrity, asserting, “I don’t believe Isabelle Huppert, as a young actress, would go to a hotel with someone who has a bad reputation.” His acknowledgment of certain actresses’ agency and refusal of advances complicated his narrative about the actresses he criticized.
Despite the weight of his accusations, Besnehard also expressed support for the #MeToo movement, stating, "It’s important because now we can’t say we didn’t know." This quote captures the duality of his stances; he appeared to recognize the momentum of #MeToo as both significant and necessary, yet seemed to envision it amid the old-world practices he is familiar with.
The inquiry itself became heated at times. Besnehard had a particularly contentious exchange with Deputy Sandrine Rousseau, during which he lost his composure. At one point, he exclaimed, "If this is my trial, I will leave! You need to stop moralizing!" This outburst illustrated the mounting tension during what has already been labeled one of the most turbulent hearings before the commission, which has involved numerous leaders of the cultural and cinema sectors over the past few months.
Rousseau, responding to Besnehard's claims, argued, “This is not about moralizing, but about how we uphold the rights and bodies of individuals,” pointing out the severe consequences many have faced within the industry due to entrenched complacency. She noted, "Many people have left cinema because of this, and the sector has lost talents.”
The inquiry is anticipated to culminate with the commission releasing its report next month—a highly awaited analysis of the testimonies and ensuing recommendations. Besnehard’s testimony was also peppered with mentions of Noémie Kocher, who had accused filmmaker Jean-Claude Brisseau of harassment prior to the mass revelations of #MeToo; Brisseau, who was convicted of sexual harassment, died in 2019. This mention hinted at the long battle many have faced even before #MeToo, underscoring the challenges inherent when victims speak out.
Throughout the hearing, Besnehard’s responses have painted him as both defender of certain accused men and critic of the women who raised their voices against them. His reflections continue to elicit mixed responses across the industry as it grapples with legacy, truth, and where to go from here.
Dominique Besnehard's multifaceted approach—part condemning, part supportive—echoes larger conversations about conduct, consent, and courage. The inquiry’s final report may well shape future norms and expectations within the cinema world, potentially fostering greater respect for women's rights and stories.