Guillaume Rose, the President of the Culture and Heritage Commission of the National Council of Monaco since 2023, has provided insights into the state of cultural initiatives within the Principality.

Throughout his two-year tenure, he highlights proactive participation in various boards of cultural institutions and emphasizes the importance of making culture accessible to all residents.

He cites venues such as the Théâtre des Muses and the Cinéma des Beaux Arts as essential components of Monaco's cultural fabric, advocating for financial and governmental support for these institutions alongside larger organizations like the Monte Carlo Ballet and the Opera.

One of the most significant developments is the forthcoming bill regarding the ownership and rights of intellectual property, a matter that has been under discussion since September 2021. The existing legal framework, established in 1948, is deemed outdated in light of contemporary cultural practices, including the evolution of television and digital media.

The new legislation aims to modernize the legal context surrounding copyright and related rights, promoting a more beneficial environment for authors and creators.

This revised framework is a response to extensive consultations and is set to be presented to the government in the coming weeks.

Rose notes that while consensus exists regarding the value of cultural expansion, challenges remain in the visibility and viability of projects.

He specifically critiques the notion that cinema does not attract affluent audiences, stating that cinema is a medium that unites diverse social classes and generations.

He underscores the derogatory implications of such assumptions, urging for more substantial support for popular cultural venues that are vital to community engagement.

Further discussions within the commission indicate that extensive legislative work is ongoing, though no other major texts addressing cultural issues have yet been finalized.

Nevertheless, Rose expresses optimism about future proposals that might emerge during the current legislative term.

Concerns have also been raised regarding the state of popular cultural infrastructures such as the Cinéma des Beaux Arts, which suffers from underfunding and has been relegated in favor of developmental projects within the Principality.

This has led to a perceived neglect of cultural spaces that cater to the general population, particularly youth, and an ongoing cycle of temporary solutions rather than long-term planning.

Finance remains a critical aspect as discussions around additional budget allocations for the Beaux Arts cinema continue.

Rose suggests that the financial needs of the cinema are modest compared to potential revenue generated by local high-end enterprises.

He advocates for immediate improvements, such as upgrading seating and general facilities to enhance audience experience.

As for the future of cinema in Monaco, Rose speculates that the new cinema anticipated in Fontvieille will be the primary venue, effectively centralizing cinematic activity in the region.

The operational logistics regarding staffing, programming, and management of the new cinema are still to be determined by future operators.

Finally, Rose addressed the broader financial support provided by the Monégasque government to major cultural institutions, stating that while the current funding levels are substantial by international standards, the enhancement of cultural offerings is critical for Monaco's global reputation.

The successful presentation and reception of Monaco’s cultural troupes on international stages demonstrate the effectiveness of these initiatives, further solidifying Monaco's standing as a cultural hub.

The importance of maintaining robust, diverse cultural programming is framed as essential for sustaining the attractiveness of the Principality.