On October 15^th, 2025, the French producers’ associations and unions API, SPI and UPC, the French screenwriters’ association SCA, the French directors’ associations and unions SRF and ARP and the SACD have signed an interprofessional agreement to oversee the remuneration of screenwriters of feature fiction films and to encourage greater recognition of their work.

Extended by the French minister of Culture, the agreement, which came into force on January 15^th, 2026, is intended to apply to contracts concluded between screenwriters and producers of feature fiction films, thus excluding animated feature films from its scope.

Hailed by the CNC as marking a historic turning point, this agreement provides for the remuneration of screenwriters during the writing process, provisions that were previously absent, and strengthens their visibility in the artistic creation process of cinematographic works.

Regulation of screenwriters’ remuneration

The agreement establishes a Guaranteed Minimum Writing Floor (GMWF), representing the minimum portion of the Guaranteed Minimum (GM), which is still negotiated over-the-counter. GMWF will be paid to authors regardless of whether the project goes into production, providing them with greater security during the writing process. The amounts vary depending on the number of co-authors working on the same screenplay:

=> For one author: 17.000€.

=> For two co-authors: 13.600€.

=> For three co-authors: 11.000€.

For more than three co-authors: the remuneration per author is negotiated over-the-counter, but the minimum GMWF per screenplay cannot be less than 33.000€.

The agreement specifies that GMWF amounts, as set out in the new schedule, do not include agent commissions.

To this end, the agreement provides for the addition or substitution of authors to the writing process, ensuring that the original author or co-authors receive a certain GMWF.

A new payment schedule is also provided for this GMWF, guaranteeing a better distribution of remuneration to screenwriters who will receive 90% of the GMWF upon delivery of the final version of the script.

The agreement also provides for a minimum indexation of the screenwriters’ remuneration, regardless of the GMWF’s application. This indexation is calculated based on the film’s external financing and will only be paid if the film goes into production.

The minimum indexation rate of set at up to 6.000.000€ of external financing, and any rate above this threshold will be negotiated over-the-counter. This rate varies depending on the nature of the project: a single rate of 2,5% for aaptation of preexisting work and  between 2,5% and 3% for oroginal works depending on whether overhead costs and/or producer salaries are covered by external financing.

Finally, screenwriters will receive additional remuneration proportional to operating income, which will be systematically paid after the film has been recouped, where applicable.

In addition, the agreement requires parties to a film production contract to attempt mediation in the event of a dispute. If mediation fails, the parties may arrange for arbitration, otherwise the dispute will be referred to the competent courts.

The recognition of screenwriters in the film’s life

To reinforce the transparency with the authors, the agreement requires the producer to establish a Writing Genealogy Sheet (WGS), used to trace the history of contributions to the screenplay’s writing and development, which must systematically be communicated to the authors concerned.

In addition to the information that the WGS must contain (title, names of authors, co-authors, etc.), the agreement specifies that any modification with a view to adding or replacing authors must be communicated to all stakeholders concerned by the modified sheet.

Furthermore, to improve the authors’ recognition, the agreement sets out rules overseeing the mention of authors in films’ credits.

Any author who has submitted at least three writing stages (submission of the first draft, of the first dialogue version, of the final draft, etc.) must systematically appear in the opening credits, on a dedicated card or not, depending on whether the author-director and the producer are mentioned.
The same applies to the work’s end credits, where the author must appear, on a dedicated card or in any case in the credits, depending on whether the author-director and the producer are mentioned.

This agreement also covers the author’s mention on communication materials (poster, press kits, etc.).

The agreement strengthens the screenwriter’s position in the work’s life, placing them on an equal footing with the work’s director or producer.

A disputed agreement

Although it has been extended on October 21^st, 2025, by publication in the Official Journal of the French Republic, the agreement has been criticized by the French Screenwriters’ Guild and the French Screenwriters’ Union, who refused to sign the text.

In a statement issued on October 14^th, the French Screenwriters’ Union expressed opposition to many provisions of the agreement. In particular, the Union regrets that the GMWF system does not reflect the actual work done by authors, being only based on an arbitrarily set value intended to compensate for the screenplay rather than the screenwriter’s work.
This system also has too many exemptions as it is not paid to authors who are paid a flat fee or to those who have not contributed sufficiently to the writing process (according to the new agreement schedule). It also does not have to be paid by any emerging co-producer or in the context of international co-productions.

In that regard, the Union emphasizes that the agreement only applies to feature fiction films intended for theatrical release. As such, films intended for SVOD platforms, documentaries, animated films, etc., are excluded from the agreement’s limited scope.

In short, the Union criticizes the agreement’s vague and illusory wording, which endorses abusive practices and ultimately fails to rectify the precarious situation and poor recognition of screenwriters effectively. In particular, the Union highlights that the schedule is too permissive, allowing the producer to have the final say on potential rewrites and to be able to withhold the final 10% of the GMWF.

Furthermore, the organization points to a clause that allows for the substitution of authors, which it deems to be unfair, the clause stipulating that, in the event of a disagreement, “the producer’s opinion shall prevail”. Unwilling to accept such a substitution without any compensation, the Union recommends, at least, automatic compensation for the replaced author.

Given the unprecedented scope and specific features of the agreement, it would be wise to seek advice from a specialist lawyer to ensure that contracts between producers and screenwriters comply with this new text.