In Defense of Foreign Films
By Jordan DelFiugo
On May 5, President Donald Trump announced his intention to impose a 100% tariff on all movies produced outside of the U.S., writing “WE WANT MOVIES MADE IN AMERICA, AGAIN!” on his Truth Social account.
Though it remains unclear as to how Trump actually plans on implementing these tariffs, the mere proposal of them indicates a shift toward cultural isolationism, one that threatens to distance the U.S from the global artistic collaborations that shape both our film industry and understanding of the world.
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Throughout the years, international films like Parasite (2019), Pan’s Labyrinth (2006), and Cinema Paradiso (1990) have expanded global storytelling by bringing audiences diverse perspectives. Imposing tariffs on these films would likely make them too expensive to import or distribute, hindering their exposure to American audiences and subsequently narrowing the cultural lens through which Americans view the world.
In an Op-ed entitled “Why Trump’s ‘100% Tariff’ Proposal for Foreign Films Doesn’t Make Sense,” Time Magazine argued that this proposal “undermines cross-cultural dialogue,” at a time when promoting global understanding and empathy is more important than ever.
Supporters of the tariffs have pointed to an April report from nonprofit group FilmLA, which found that film shootings in Los Angeles have decreased by 22% between January and March of this year. While the American film industry needs support, imposing tariffs on international films is not the solution. Not only is it highly unlikely that tariffs will do anything to solve this issue, but in addition to limiting cultural exchange, imposing tariffs also risks other countries taking retaliatory actions that could restrict American films.
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In October 2024, California Governor Gavin Newsom proposed a plan that would expand California’s film and television tax credit program, raising the annual cap from $330 million to $750 million. Unlike Trump’s proposed tariffs, Newsom’s tax credit program supports American filmmaking without attacking the international film industry.
Foreign films not only shape the global film industry, but they also impact how Hollywood tells stories. International films bring diverse perspectives and experiences to the cinematic landscape, helping to challenge stereotypes and traditional narratives. Take the 2007 film Persepolis, for example. Based on Marjane Satrapi’s autobiographical graphic novel of the same name, the film depicts the feminist, politically conscious life of a young Iranian woman during the Islamic Revolution. Perspolis effectively challenges the idea that Iran is a monolithic, extremist society by showing a wide diversity of thought, spotlighting liberal thinkers, feminists, and underground artists.
Likewise, Wong Kar Wai’s film Happy Together (1997) presents a contrast to stereotypes about East Asian masculinity with its depiction of a complex, passionate love story between two men. The film shows men longing, breaking down, crying, and sharing emotional intimacy, something rare in global cinema, especially in queer stories, at the time the film was released.
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When considering the value of foreign films, isolating American audiences from global cinema does more harm than good. Foreign films don’t threaten American filmmaking, they enrich it. By promoting empathy, challenging stereotypes, and inspiring new methods of storytelling, international film plays a vital role in our cultural and creative landscapes.
Rather than imposing tariffs, we should focus on fostering and supporting American talent, while still keeping the door open to the diverse voices that make film a global art form.
