A vandalism incident near the Belgian residence of actor Benoit Poelvoord, known for the film Bite the Dog, drew attention when graffiti directed at Gerard Depardieu appeared on a fence in Zhamb. The report came through RIA News, citing Sud Info as the source of the latest details about the incident.
The message declared in bold black letters that Depardieu is disliked, with the to-and-fro claim: “We don’t like Depardieu, he’s a big pig.” The act occurred during the day, and local observers noted the painting appeared swiftly in a public space, provoking discussion about how critics voice their opinions in public art and what it says about celebrity culture in the region. Sud Info also notes that Poelvoord has been among the actors who supported Depardieu amid sexual harassment accusations involving the star of The Runaways, highlighting a split within the industry over public allegiance during such allegations.
Depardieu has recently received support from various quarters, including thanks directed at France’s cultural community for standing with him. He publicly acknowledged that the signers acted with courage, choosing to back a fellow artist despite controversy. This response underscores the broader conversation about artistic legacy, accountability, and the role cultural figures play when reputations are in the spotlight. Debates about due process and presumption of innocence have become more visible as statements of solidarity circulate among peers and fans alike.
Earlier in the month, an open letter was published by actor Pierre Richard and singer Carla Bruni, joined by fifty other artists. The document condemns the harshness of online mobs and calls for fair treatment of Depardieu amid allegations of sexual harassment. It characterizes him as one of cinema’s most enduring talents and stresses the importance of not letting public discourse erase a person’s contributions to culture. The letter urges justice to handle the case with rigor while preserving the artistic legacy Depardieu has helped build, suggesting that his work remains a meaningful chapter in the history of French cinema.
The letter also emphasizes the core principle of innocence until proven guilty and invites readers to consider the broader impact of casting judgments that can echo across an artist’s career and the cultural landscape. Supporters argue that Depardieu’s significance to French art should not be forgotten, and they draw attention to the actor’s long record of influence within the industry, as well as the collaborative projects and performances that have shaped contemporary cinema. In this context, the discussion surrounding his case touches on how society balances accountability with appreciation for artistic achievement, and how the public conversation can stay focused on evidence and fair process rather than sensationalism. The situation continues to unfold as more voices weigh in on the balance between critique and recognition in the arts.
Previous media coverage noted a separate, unrelated legal matter involving a television star connected to a different case. That report indicated the individual would be eligible for parole on a long timeline, illustrating the often slow and complex nature of justice across different cases in the entertainment world.