French Filmmaker Under Investigation for Alleged Sexual Harassment of Child Actor -

Adèle Haenel has accused French director Christophe Ruggia of subjecting her to “permanent sexual harassment” during the making of a film when she was between 12 and 15 years old.

In one of the first French #MeToo cases to come to court, acclaimed film director Christophe Ruggia has denied charges of sexual aggression and harassment brought by award-winning French actor Adèle Haenel. Haenel, known for her roles in films like Portrait of a Lady on Fire, has accused Ruggia of subjecting her to persistent sexual harassment during the making of a film when she was between the ages of 12 and 15.

Haenel publicly revealed the allegations in 2020, accusing Ruggia of inappropriate behavior, which she described as “permanent sexual harassment.” She said Ruggia made repeated sexual advances and comments, which she claims had a lasting impact on her career and personal life.

Ruggia, who directed Haenel in the 2002 film The Devils, has denied all allegations, asserting that their interactions were professional. However, the case has brought to light ongoing concerns about sexual misconduct in the French film industry, with Haenel’s brave decision to speak out being seen as a catalyst for further discussions on abuse of power and protection of young actors.

The trial has attracted significant attention, as it is one of the first major cases of its kind in France following the global #MeToo movement. It has sparked debates about accountability, the treatment of women in the film industry, and the courage of those who come forward with such sensitive accusations.

A group of feminists gathered outside the Paris court on Monday in support of Adèle Haenel, who claims she was groomed and abused by filmmaker Christophe Ruggia from the age of 12 to 15. The demonstration highlighted solidarity with Haenel, who has courageously accused Ruggia of sexual harassment and misconduct during the making of the film The Devils. The gathering reflects broader calls for accountability and an end to abuse within the French film industry, as Haenel’s case becomes one of the first high-profile #MeToo trials in France.

Adèle Haenel, 35, a two-time César Award winner, has accused filmmaker Christophe Ruggia, 59, of subjecting her to “permanent sexual harassment” during and after the making of his 2002 film The Devils, in which she played a girl with autism. Haenel claims the harassment began when she was between the ages of 12 and 15 and continued for several years. Her accusations have sparked significant attention, as they mark one of the first high-profile #MeToo cases to be brought to court in France, shedding light on issues of abuse in the French film industry.

Christophe Ruggia, who has been charged with sexual abuse of a minor under 15, has denied all accusations made by Adèle Haenel. He strongly rejects the claims of sexual harassment and misconduct during the making of The Devils and in the years following. The case has garnered significant attention, not only for the seriousness of the charges but also because it is one of the first high-profile #MeToo trials in France’s film industry. Ruggia’s denial and Haenel’s public testimony have sparked a wider conversation about sexual abuse and accountability in the entertainment world.

Christophe Ruggia told the court that Adèle Haenel had created a “parallel reality” and was motivated by revenge after he declined to work with her on another film. He suggested that her accusations of sexual harassment were driven by “professional disappointment,” rather than any actual wrongdoing on his part. Ruggia’s defense portrays the claims as an emotional response to career frustrations, denying the validity of Haenel’s allegations.

When asked about evidence that police had found searches on his computer using the words “Adèle Haenel hot,” Christophe Ruggia claimed he could not remember making such a search. Despite this evidence, he denied any wrongdoing and maintained that the allegations against him were unfounded.

Adèle Haenel, acclaimed for her performance in the 2019 French film Portrait of a Lady on Fire, has shared that she felt guilty after the filming of The Devils and even experienced suicidal thoughts. She revealed that the traumatic experiences during the making of the film had a lasting emotional impact on her, leading to feelings of shame and depression.

Christophe Ruggia stated that he recently came to the realization that the film shoot for The Devils had been “painful” for Adèle Haenel. However, he denied any intention of causing harm and suggested that Haenel’s accusations were influenced by personal grievances, rather than being rooted in actual events.

When asked what had inspired him to write a screenplay about the sexual awakening of two teenagers, Christophe Ruggia told the court that it was based on the story of his two best friends, who had grown up in care. He emphasized that the film was a reflection of their experiences, though the context of the trial focused on the accusations from Adèle Haenel regarding his behavior during the making of the film.

While Christophe Ruggia told the court that his attitude towards Adèle Haenel and her co-star Vincent Rottiers was “paternal,” others who worked on the film described his behavior towards Haenel as “invasive” and “misplaced.” These contrasting perspectives highlighted the tension between Ruggia’s defense and the accounts of those who witnessed his conduct on set.

In 2019, after Adèle Haenel’s accusations emerged, the Society of French Directors (SRF), which had previously chosen Christophe Ruggia as co-president and vice-president multiple times between 2003 and 2019, expelled him from the organization. This expulsion followed the public revelation of Haenel’s claims of sexual harassment and abuse during the filming of The Devils.

In May 2023, Adèle Haenel, who had won her first César in 2014 for her supporting role in Suzanne and a second César for Best Actress for Love at First Fight the following year, announced that she was ending her cinema career. Haenel cited the film industry’s “widespread complicity” with sexual abusers as the reason for her decision, following her own experiences of abuse and harassment in the industry.