Christophe Ruggia, a prominent French film director, has been found guilty of sexually abusing actress Adèle Haenel when she was underage. The Paris court handed down a sentence of four years in prison, with a two-year suspended term, followed by two years under electronic surveillance. Haenel accused Ruggia of repeatedly touching her inappropriately from the age of 12 to 15, after they met on the set of the film "The Devils" in 2001.
"The Devils," a film depicting the journey of two abandoned siblings searching for their home, marked the beginning of Haenel’s ordeal. At the time, she was only 12 years old, while Ruggia was 36. In 2019, Haenel publicly accused Ruggia of exercising undue control over her and co-star Vincent Rottiers, forcing them into filming gruelling scenes. She revealed that Ruggia would often invite her to his house, where he would touch her inappropriately, including between her legs and caressing her chest.
The courtroom witnessed a notable presence of several female stars from French cinema during the verdict announcement. Among them were Judith Godrèche, a leading figure in France's #MeToo movement, and director Céline Sciamma, who is Haenel's ex-partner and known for her film "Portrait of a Lady On Fire." Their attendance highlighted the solidarity within the industry for addressing and combating sexual misconduct.
Despite the verdict, Ruggia's lawyer, Fanny Colin, stated that her client maintains his innocence and plans to appeal the court's decision. The sentence implies that Ruggia will avoid jail time due to its terms. This case comes at a time when the French film industry is grappling with issues of harassment and abuse, as evidenced by the forthcoming trial of Gérard Depardieu, another high-profile actor accused of sexually assaulting two women on a film set in 2021.
Haenel has recently taken a bold step by quitting the film industry altogether. She cited complacency over suspected sexual predators who remain active in the business as a primary reason for her departure. This decision adds a critical layer to the ongoing dialogue about the need for systemic changes within the entertainment sector.
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