In early 1968 France’s cultured but authoritarian Minister of Cultural Affairs, André Malraux, moved to remove Henri Langlois from the Cinémathèque on grounds of mismanagement and inadequate housing for flammable film stock. On 7 February 1968 the state‑appointed board installed Pierre Barbin in Langlois’s place; the result was a spectacular, transnational backlash. Parisian students — among them the activist Daniel Cohn‑Bendit — and a who’s‑who of filmmakers mobilized in protest. The action snowballed into an international campaign of telegrams and public pressure from figures as diverse as Alfred Hitchcock, Akira Kurosawa, Federico Fellini and others; even the prestigious Cannes Film Festival was disrupted in solidarity. Under furious public scrutiny Malraux reinstated Langlois on 22 April, although the Cinémathèque’s public funding was curtailed. The 'Affaire Langlois' read like a rehearsal for May 1968 — it fused student radicalism, cultural politics, and auteur solidarity and secured Langlois’s mythic status as the guardian of cinema against bureaucratic control.
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