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Vive l'indifférence! Netflix's Room 2806 exposes France's #MeToo apathy
Amelia Gentleman
Most people will have only the haziest recollection of the fallout that occurred after the French presidential hopeful and then head of the International Monetary Fund Dominique Strauss-Kahn was accused of sexually assaulting a room attendant in a New York hotel in 2011. That allows the Netflix documentary Room 2806: The Accusation to possess all the qualities of a slick political thriller. Who will be believed? The immigrant, hotel cleaner, a single parent living in a flat in the Bronx or the globally powerful, immensely rich politician?
This tense, four-part documentary has astonishing material to work with. There is plenty of CCTV footage, filmed from the ceiling, of chambermaid Nafissatou Diallo making her way to the presidential suite, and later, visibly distressed, being shepherded by her supervisor to a subterranean network of shabby staff offices in the bowels of the building, away from the gilded foyer, where she wipes away tears and recounts how she has been assaulted by Strauss-Kahn as she cleaned his rooms.

'How different it would have been if it had happened during #MeToo,' one said 
French political figures interviewed for Netflix's Room 2806: The Accusation 
Former French Ministers Jack Lang and Elisabeth Guigou took DSK's defense
Jack Lang said 'love was not conspiracy by the devil' and that DSK was 'sensual' 
Guigou called DSK a 'womanizer' but added it was not a 'crime' in new series
DSK was accused of raping hotel maid Nafissatou Diallo in New York in May 2011
The case was dismissed and later settled among the parties, DSK always denied 
French political figures have sparked fury after lining up to defend former IMF director Dominique Strauss-Kahn in a new Netflix documentary revisiting allegations of rape and sexual assault that cost him his job and the potential French presidency. 

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Restaurants in Paris have been allowed to open their terraces since 2 June.
Photograph: Bertrand Guay/AFP/Getty
It is evening rush hour and the Rue de Rivoli, a major east-west road through central Paris, is heaving. Pre-coronavirus, it would have been one long traffic jam, paralysed by increasingly frustrated and angry motorists. Now, though, with private cars banned, it is busy with pedestrians, cyclists and a smattering of taxis and buses.
North of Rue de Rivoli, in the Marais, a maze of narrow cobbled streets, cafes, restaurants and bars have spread out across pavements and parking places.
As France returns to normal, after what President Emmanuel Macron described as the “war” on Covid-19, the battle is now on for public space in Paris.

By
The writer and filmmaker Virginie Despentes lives in a nondescript modern building in the Belleville neighborhood of Paris. I know it well: it has a Bricorama—like a French Home Depot—on the ground floor, where we sometimes had cause to shop back when we lived in the neighborhood. The people who work there seemed to hate their jobs more than most; they were often absent from the sales floor. In the elevator to Despentes’s apartment, I marvel that while I was trying to get someone to help me find bathroom grout she was right upstairs, with her partner, Tania, a Spanish tattoo artist who goes by the name La Rata, like someone out of one of Despentes’s novels.