by Hudson Moura
Five years after the end of Call My Agent! ((Dix pour cent)), Fanny Herrero (creator of the series) returns to the characters who made the French series such an international success with Call My Agent! The Movie, arriving on Netflix on September 10. The original series always relied on a somewhat repetitive dramatic mechanism—the agency was perpetually threatened, money was scarce, stars were about to leave, and professional crises accumulated—but its real strength was never the plot itself. It was the extraordinary ensemble of agents: messy, egocentric, vulnerable, irritating, funny, and deeply human antiheroes whose personal feelings constantly collided with their professional responsibilities. The movie wisely understands that these characters, rather than ASK itself, were the heart of the series.
The agency may be gone, but everyone has moved into a new professional life. Camille (Fanny Sidney) continues working as an agent alongside her father Mathias (Thibault de Montalembert), Noémie (Laure Calamy) has become a producer, and Gabriel (Grégory Montel) now works for a competing agency. Most significantly, Andréa (Camille Cottin) has moved into filmmaking, and it is the troubled production of her movie that becomes the new centre around which the former ASK family gradually reunites. Her professional difficulties are accompanied by an equally complicated personal life, including her relationship with her young daughter and the consequences of the separation from her former partner. Instead of simply recreating the agency, the film finds a convincing new narrative engine that allows the same personalities to collide again in a different part of the industry.
The movie also preserves one of the series’ most distinctive pleasures: real stars playing heightened versions of themselves. The television series turned actors’ egos, insecurities, career anxieties, and often absurd demands into the central problem of individual episodes while simultaneously offering a playful glimpse behind the scenes of film and television production. The movie continues this tradition with appearances by figures including George Clooney, Eva Langoria, Laurent Lafitte, and Laetitia Casta. Actors remain wonderfully self-centred creatures who behave as though the entire production machinery should reorganize itself around their needs.
One scene involving George Clooney, Andréa, and Noémie captures particularly well what made Call My Agent! so entertaining. Andréa is now working from the filmmaking side and Noémie from production, yet their old instincts, personalities, rivalries, and capacity for chaos immediately resurface. It is extremely funny, but it also demonstrates how successfully the movie relocates familiar characters without simply returning them to their old jobs.
This is crucial because Call My Agent. The Movie does not feel like an oversized television episode. It functions more as a continuation of the fourth-season finale, revisiting relationships, resentments, disappointments, and personal stories that were never entirely resolved. The characters have changed professionally, but Herrero wisely resists reinventing them psychologically. They remain recognizably themselves—disorganized, ambitious, affectionate, insecure, competitive, and frequently impossible. That continuity is precisely what makes the reunion satisfying.
There is also something particularly appropriate about shifting the narrative from a talent agency to a film production. The original series was fascinated by the machinery surrounding actors; the movie expands that perspective to another part of the filmmaking process. Yet the essential dynamic remains intact: art and commerce, friendship and ambition, personal loyalties and professional survival are constantly entangled.
For viewers who followed Call My Agent! through its four seasons, the movie provides something deceptively simple but emotionally satisfying: an answer to the question “What happened to them after ASK?” Rather than merely exploiting nostalgia, Herrero allows the characters to continue living, failing, fighting, and reinventing themselves. The surroundings have changed, but the delightful human disorder has not.
Rating: 4/5