My class at the cinema represents the first artistic and cultural education initiative through cinema in France. Supported by the Ministry of National Education and the Ministry of Culture, this program offers students from kindergarten to high school the opportunity to watch films in theaters and analyze them in class.
Since 2023, adjustments have aimed to broaden its reach. However, the initiative does not yet benefit all students equitably, particularly those from the least advantaged schools.
Geographical distribution of the My class at the cinema initiative: who really benefits?
The operation of My class at the cinema relies on a territorial management system. Each academy, each DRAC organizes its own programming, training, and schedule. This decentralized model allows adaptation to local realities, but it also creates disparities in access between regions.
Dense urban areas, where partner cinemas are numerous, more easily enroll their classes. In contrast, rural schools or those located on the outskirts face logistical constraints (transport, distance from theaters) that hinder their participation. The Geffray report, submitted in May 2025, identifies these structural vulnerabilities of the initiative and proposes ways to address them.
| Criterion | Dense urban areas | Rural or suburban areas |
|---|---|---|
| Access to partner theaters | Immediate proximity, varied offerings | Long travel, limited offerings |
| Logistical cost per class | Low (short transport or walking) | High (bus, specific organization) |
| Teacher training | Locally accessible workshops | Training sometimes far away or via video |
| Effective participation | Higher participation rate | Variable participation depending on the year |
This table summarizes a recurring observation: access equality to the program largely depends on geography. A student enrolled in a metropolitan area does not have the same chances of participating as a student from a mountain village.
To delve deeper into the mechanisms and educational framework of the initiative, the My class 2023 program details all aspects of the project, from registration to training objectives.
Priority education and school cinema: an underutilized lever
Students enrolled in REP and REP+ networks, from working-class backgrounds, are precisely those for whom discovering cinema in theaters can constitute a first structuring cultural experience.
The Geffray report highlights a risk of self-censorship among teachers: some refrain from enrolling their class, anticipating organizational difficulties or fearing that the film content will be poorly received. This phenomenon affects schools where the audience is deemed “difficult,” which paradoxically deprives the students who need cinema the most.
Identified barriers in priority networks
- The residual cost per student (even if low) can deter vulnerable families, especially when financial participation is not fully covered by the community.
- The time slots imposed by partner theaters sometimes conflict with tight schedules, complicating organization for teaching teams.
- The lack of specific training in image education for teachers assigned to REP+ limits the educational use of films viewed in theaters.
Local experiences show that when funding is fully covered and teachers receive dedicated support, participation from classes in priority education matches that of other institutions. The lever exists, but it requires a targeted budgetary effort.
Skills acquired by students through My class at the cinema
Reducing My class at the cinema to a recreational outing would be inaccurate. The initiative combines theater screenings with structured pedagogical work in class, mobilizing various skill sets.
Film analysis develops critical thinking in response to images, a skill that has become central in the age of social media and visual misinformation. Students learn to decode framing, editing, and soundtracks, all transferable tools for reading online videos.
Beyond cinematic culture
Field feedback indicates that activities related to the initiative (writing reviews, making short films, structured debates) also enhance mastery of written and oral skills. In some classes, collective work around a filming project has helped re-engage disengaged students through concrete project-based pedagogy.
These benefits remain difficult to measure in a standardized way, due to the lack of systematic national evaluation. The Geffray report also recommends better documenting achievements to justify funding and strengthen the place of cinema in school programs.
Fragmented funding and sustainability of the My class at the cinema school program
The funding of the initiative relies on a mix of contributions from the CNC, local authorities, DRAC, and sometimes the institutions themselves. This fragmented architecture exposes the program to budget fluctuations from year to year, depending on local political priorities.
When a community reduces its allocation, it is often the classes furthest from theaters (and thus the most expensive to transport) that lose their place first. The effect is cumulative: territories already poorly served suffer cuts first.
The Geffray report proposes consolidating the financial model, with a clearer allocation of funds towards underrepresented areas. Without this rebalancing, the risk is that a program functions well where it does not need help, and recedes where it would be most useful.
The question of funding sustainability directly affects the ability of My class at the cinema to fulfill its initial promise: to offer every student, regardless of their school location or social background, a quality education in cinema and image. It is on this equity criterion that the program will be judged in the coming years.