Guy Pearce, alongside more than 350 international actors, directors, and producers, has signed a powerful letter released at the opening of the Cannes Film Festival, condemning the killing of Palestinian photojournalist Fatma Hassona in Gaza by an Israeli airstrike. The letter, also signed by prominent figures such as Mark Ruffalo, Ralph Fiennes, and Viggo Mortensen, was published in response to mounting outrage over the ongoing violence and repeated attacks on media workers in the region. Unified in their outrage and distress, the signatories have demanded urgent action, expressing deep frustration over what they describe as shocking indifference by key cultural institutions.
The killing of Fatma Hassona, a 25-year-old Palestinian freelance photojournalist, occurred on April 16, 2025, just days after the announcement that the film
“Put Your Soul on Your Hand and Walk,”
in which she starred, would be shown in the ACID section at Cannes. As the main protagonist of the documentary, her death resonated strongly within the global film community. According to the letter, Hassona was about to get married when she and ten family members, including her pregnant sister, were killed in the same airstrike, a tragedy emblematic of the wider devastation unfolding in Gaza.
Guy Pearce, compelled by the gravity of the situation, joined the chorus of voices denouncing not just the killing of Hassona but the wider pattern of targeting journalists in Gaza. The letter states,
“More than 200 journalists have been deliberately killed. Writers, film-makers and artists are being brutally murdered.”
The document represents a collective cry of distress from artists like Pearce, who see the unchecked violence against storytellers and civilians as a direct attack on freedom of expression and the possibility for justice.
Since October 7, 2023, restrictions on access to the Gaza Strip have intensified to the point that no foreign journalists have been permitted entry, leaving local journalists increasingly vulnerable. The letter explicitly links these bans and civilian deaths to deliberate military targeting, emphasizing a crisis that has rattled artists worldwide and left many, including Guy Pearce, both dismayed and infuriated by a perceived global silence.
“We are ashamed of such passivity,”
the signatories declare, targeting cultural leaders and institutions for their delayed or insufficient responses.
Adding to the sense of crisis, the signatories referenced the assault and kidnapping of Palestinian filmmaker Hamdan Ballal. Only weeks after winning an Oscar for the documentary “No Other Land,” Ballal was reportedly attacked by Israeli settlers and detained by the army, later released under increasing international pressure. The Academy of Motion Pictures Arts and Sciences faced internal and external rebuke for its lack of immediate support, finally issuing a public apology following an outpouring of anger from members, including Guy Pearce. The letter bluntly asks,
“Why is it that cinema, a breeding ground for socially committed works, seems to be so indifferent to the horror of reality and the oppression suffered by our sisters and brothers?”
This frustration is not new for those working in film, but Guy Pearce and fellow artists are making it explicit, calling on their own industry to stand up for threatened storytellers and to refuse complicity in silence and violence. The letter insists that now is the moment for cinema to remember its purpose:
“What is the point of our professions if not to draw lessons from history, to make films that are committed, if we are not present to protect oppressed voices?”
Underlining the urgency and intensity of their statement, the signatories, Guy Pearce among them, list a litany of social and political trends they see as threatening art and free speech. They point to
“the far right, fascism, colonialism, anti-trans and anti-LGBTQIA+, sexist, racist, islamophobic and antisemitic movements,”
arguing that such forces are making art a battleground, targeting publishing, cinema, and universities.
“That’s why we have a duty to fight,”
the letter reads, leaving no doubt as to the depth of their concern and the seriousness of their call to action.
Guy Pearce’s involvement carries weight, as he is renowned for roles requiring intellect and empathy, and now his real-life commitment mirrors his on-screen persona. His signature beside so many others signals a dramatic escalation of concern within the artistic community. The letter commands attention:
“Let’s refuse to let our art be an accomplice to the worst. Let us rise up. Let us name reality.”
Their message, filled with distress and a sense of overwhelming responsibility, is aimed not just at industry leaders but at the audience and society, insisting that cinema must never look away or allow itself to be co-opted by propaganda or indifference.
Central to their plea is the story of Fatma Hassona, whose life and loss serve as the catalyst for this action. At just 25, on the brink of marriage, Hassona’s death is portrayed as both a personal tragedy and a symbol of systematic violence against journalists in Gaza. Her murder, along with the deaths of her family, illustrates the extent of suffering experienced by civilians trapped in continuous conflict. The letter’s writers argue that Hassona’s fate is the result of indifference that pervades both governments and the international cultural community, making their distress painfully clear:
“For Fatma, for all those who die in indifference. Cinema has a duty to carry their messages, to reflect our societies. Let’s act before it’s too late.”
The list of signatories stretches far beyond Guy Pearce, including Mark Ruffalo, Melissa Barrera, Pedro Almodóvar, Alfonso Cuarón, Cynthia Nixon, and more, amplifying the urgency of the moment. Their stance is not merely symbolic; by putting their names to the letter at Cannes, one of the world’s most prestigious film festivals, these artists are inviting global scrutiny and demanding meaningful change. Their collective voice is intended to push cultural institutions, filmmakers, and audiences beyond passive outrage into active resistance against the silencing of media and the killing of civilians.
In providing further context, the letter explores the broader social dangers at play. It warns that fascist and colonialist movements threaten not just artists and journalists, but the principles of truth and justice at the heart of open societies. By naming reality, exposing propaganda, and standing up for accountability, Guy Pearce and his colleagues challenge cinema to reclaim its power and purpose. They insist that the art form, which has long thrived on stories of resistance and change, must not become complicit by failing to speak out.
The sheer scale of agreement, with hundreds of artists, directors, and producers joining Guy Pearce, is significant. Their collective emotion ranges from negative frustration to sheer distress, reflecting the sense of being overwhelmed by escalating violence and the global lack of suitable response. Despite the intensity of their feelings, the letter is careful to anchor its outrage in verifiable facts—naming the victims, clarifying the events, and identifying lapses in support by institutions like AMPAS. It is not a manifesto of empty rhetoric, but a demand for accountability rooted in real tragedies and failures.
Looking ahead, the impact of the letter and Guy Pearce’s involvement remains to be seen. By directly confronting the silence of the global cinema community and linking it to current atrocities, the signatories hope to inspire a shift in public dialogue, media coverage, and institutional behavior. Their hope is to break the cycle of indifference that permits acts like Hassona’s killing to occur without consequence. There are calls for festival organizers, film academies, and production companies not only to condemn such violence outright, but to provide tangible support for those still at risk and to ensure their stories are told fully and honestly.
As the Cannes Film Festival proceeds, the letter signed by Guy Pearce and others casts a heavy shadow, reminding attendees and the world that celebration and recognition in the arts are inseparably connected to the moral responsibilities of the industry’s practitioners. Their message is clear: there should be no safety in silence when voices are being silenced and lives are lost for seeking truth. The urgency, distress, and frustration expressed in the letter serve as both warning and rallying cry, pushing cinema and society at large not to turn away from horrific injustices but instead to act decisively in defense of the oppressed.
The emotional magnitude of this protest at Cannes, unusually public and raw, marks a turning point for many in the international cultural community. With Guy Pearce at the forefront, the signatories’ refusal to accept indifference or inaction may well encourage similar outspokenness throughout artistic circles. They call for vigilance, empathy, and a readiness to bear witness, even when it is uncomfortable, frightening, or costly. The letter’s impact, if matched by meaningful changes within the industry and a reevaluation of institutional standards, could push cinema towards fulfilling its potential as both art and agent of social justice, refusing to let victims like Fatma Hassona be forgotten.
