by Hudson Moura Dominik Moll’s Case 137 (Dossier 137) is not “about” the Gilets Jaunes so much as it is…
In The Thieving Magpie, Robert Guédiguian returns to his Marseille family—Ariane Ascaride, Jean-Pierre Darroussin, the working-class apartments and port-side streets—but knots them into one of his sharpest moral dilemmas. Maria, an overworked home-care aide with a good heart and an empty wallet, quietly steals small sums from the elderly people she tends in order to support her grandson, just as her daughter falls in love with the son of one of her clients.
Costa-Gavras’ The Last Breath is a sober, talk-driven drama that turns away from medical heroics to ask what happens when curing is no longer possible and only caring remains. Through the encounters between a renowned philosopher (Denis Podalydès) and a palliative-care doctor (Kad Merad), the film probes how to tell the truth, when to stop treatment, and how to accompany patients who know they are nearing the end.
The Future Awaits (La vie devant moi) focuses on one Jewish family hidden in a Paris chambre de bonne after the Vél d’Hiv roundup, guided by the real testimony of Tauba Birenbaum. Niels Tavernier’s film is strongest when it sticks to that narrow premise: the claustrophobia of silence, the grinding fear of being discovered, the moral courage of Rose and Désiré, the ordinary couple who choose to hide them.
Barny’s Fanon is strongest when it turns the Algerian psychiatric hospital into a clear microcosm of colonial violence.
by Hudson Moura Cédric Klapisch’s Colours of Time is an elegant, intergenerational tale that treats memory as both archive and encounter. The…
by Hudson Moura Varante Soudjian’s Challenger is a breezy, good-natured crowd-pleaser that marries working-class aspiration with the slapstick volatility of viral fame.…
by Hudson Moura Philippe Mechelen’s The Rookie Guide (Le Routard) turns the famed travel brand into a buoyant meta-comedy: Yan Tatin (a…
by Hudson Moura Peter Dourountzis’s Vultures (Rapaces) descends into a France where organized, paramilitary rape-gangs terrorize cities and where the…
by Hudson Moura Adapted from Laurent Petitmangin’s Ce qu’il faut de nuit, Delphine et Muriel Coulin’s The Quiet Son reframes a familiar social…
by Hudson Moura Throughout Peak Everything (Amour Apocalypse) Anne Émond saturates the narrative with what we could call an immanent critique of wellness:…
by Hudson Moura With Menteuse, Émile Gaudreault returns to the comic universe he knows best: ordinary Québécois characters whose small, everyday…
by Hudson Moura Mourad Winter’s Love Is Overrated is less a film about love than a film about the inability to enter reality.…
by Hudson Moura Enya Baroux’s We Will Go (also circulating in French as On Ira/Bon voyage, Marie) is a small, disarming film that…
by Hudson Moura Jacelyn Forgues’ Et Maintenant is a cancer film that refuses to be only a cancer film. On le papier,…
by Hudson Moura Updated on October 31, 2025 With Partir un jour (Leave One Day, feature’s English title), French writer-director Amélie Bonnin returns…
François Ozon, often described as the “enfant terrible” of French cinema, is also one of the most prolific filmmakers of…
by Hudson Moura François Ozon’s When Fall is Coming unfolds as an exquisite, slow-burn mystery delicately rooted in the director’s family lore.…
by Hudson Moura In The Hidden Woman (La femme cachée), director Bashir Bensaddek takes viewers on a deeply emotional journey, gradually revealing…
by Hudson Moura Léa Pool, one of the most esteemed directors in Quebecois cinema, returns with a powerful adaptation of…
by Hudson Moura At its core,Breaking Point (Un Coup de Dès) is a classic story of jealousy, betrayal, and luck,…