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CULTURE

Can Costner lead the revenge of France’s much-mocked Kevins?

In 1990s France, amidst the Pierres and the Jean-Claudes, a Hollywood hero with all-American good looks inspired a new name craze.

US director Kevin Costner poses after being awarded Chevalier de l'Ordre des Arts et des Lettres at the Cannes Film Festival in southern France
US director Kevin Costner poses after being awarded Chevalier de l'Ordre des Arts et des Lettres at the Cannes Film Festival in southern France, on May 19, 2024. Costner's success in the 1990s sparked a wave of popularity for the name Kevin in France. (Photo by Valery HACHE / AFP)

The era of the Kevin — or Kev-een as the French pronounce it — had arrived, ushered in by the passions unleashed by a moustachioed Kevin Costner in his epic directorial debut, “Dances with Wolves”.

Suddenly, little Kevins were to be found the length and breadth of France.

But it wasn’t all plain sailing for these young ambassadors of Americana.

As Kevin Costner, now aged 69, prepares for his much-anticipated comeback at the Cannes Film Festival, AFP looks at how his French namesakes went from hero to zero and back again:

Je m’appelle Kevin

Celtic in origin, hailing from the Irish name “Caoimhin” after a hermit monk who lived in a stone cell in a glacial valley, the Kevin craze was sparked by not one but two huge Hollywood films.

In 1990 two million French people flocked to see the antics of a young boy called Kevin battling to defend his family home from burglars in “Home Alone”.

A year later, “Dances with Wolves”, which scooped seven Oscars, topped the French box office, pulling in a whopping seven million viewers.

The impact on birth certificates was immediate — that year Kevin was the most popular boy’s name in France, chosen for just over 14,000 newborns, according to data compiled by AFP.

The wave continued with over 10,000 baby Kevins a year until 1995 when it dipped to some 8,000 and progressively dwindled thereafter.

Mocked and shamed 

By the time the Kevins hit adolescence in the early 2000s, Costner’s star power had faded and the name had become shrouded in stigma, associated with lower classes picking exotic-sounding names drawn from pop culture.

Sociologist Baptiste Coulmont studied the social determinism of French names by comparing the names with the childrens’ exam grades.

Between 2012-2020 four percent of Kevins received the top “very good” grade for the baccalaureate exam taken at the end of high school, compared with 18 percent for the classic bourgeois name Augustin.

For director Kevin Fafournoux, who grew up in what he calls an “ordinary” family in central France and is making a documentary called “Save the Kevins”, the name “spells redneck, illiterate, geek, annoying” for many in his country.

“All this has impacted my life and that of other Kevins, whether in terms of our self-confidence, professional credibility or in relationships,” he says in its trailer.

In Germany, which also saw a wave of Kevins in the early 1990s, the negative stereotypes conferred on parents who give children exotic-sounding names from other cultures has a name: Kevinismus.

“Kevin is not a name but a diagnosis,” said one teacher scathingly in a 2009 article by Die Zeit newspaper about little Kevins, Chantals and Angelinas being labelled problem children.

Shedding the stigma

As the years pass, Kevins have become doctors, academics, politicians and much more — and attitudes have shifted.

“There are tens of thousands of Kevins in France, they are everywhere in society and can no longer be associated with one background,” Coulmont told The Guardian newspaper in an interview in 2022.

That year, two Kevins were elected to parliament for the far-right National Rally (RN).

“Will the Kevins finally have their revenge?” asked Le Point magazine.

The RN’s president is himself a fresh-faced 28-year-old, who grew up in a high-rise housing estate on the outskirts of Paris. He also carries a name with clear American overtones: Jordan Bardella.

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CULTURE

Last collective-run Paris cinema saved

The last Paris cinema run by a collective has been saved from closure with the help of Martin Scorsese and Quentin Tarantino, as supporters announced on Wednesday they had raised the funds to buy it.

Last collective-run Paris cinema saved

After several years of work, the collective announced they had bought La Clef in the city’s Latin Quarter for €2.7 million.

Established in the 1970s, La Clef is one of the last independent cultural places remaining in the area, which is packed with students from the Sorbonne University but has seen its intellectual haunts largely driven out by high real-estate prices.

Another former film-going mecca in the city, the Champs-Elysees, has seen several landmark cinemas close as the street becomes dominated by fashion stores and tourist traps, with the famed UGC Normandie closing its doors last week.

La Clef forged a niche by highlighting African, Asian and South American filmmakers rarely programmed elsewhere.

The collective vowed it would stay true to that mission: “a place for showing rare films.”

“Those who wish can join the collective, learn how to organise a screening and propose a film,” they said.

READ MORE: Paris cinema named as world’s most-visited

In the early days of the Covid-19 pandemic, the cinema projected a film on to the side of a building for locked-down residents in nearby apartments.

La Clef was under threat for some six years after its owners, a bank subsidiary, decided to sell the premises.

But multiple occupations, political standoffs and petitions eventually paid off.

Scorsese lent his support to the movement last year, with a video and a column in French newspaper Liberation titled “La Clef must remain a cinema”.

The movement was able to raise two million euros in donations (with the rest borrowed from a bank), including through an art sale at the Palais de Tokyo to which the US director David Lynch contributed.

Tarantino and several French filmmakers, including Mathieu Amalric, Leos Carax and Celine Sciamma, were among the key donors.

After a short four-day re-opening next week, the collective must then raise another €600,000 over the coming year to bring the venue, with its dilapidated walls and tired seats, up to mandatory standards.

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