Alliance Française French Film Festival on Sale Now!
The Alliance Française French Film Festival is back and at Pivot Cinema from the 16th – 28th of April 2026! Get ready for some unforgettable nights featuring a fantastic selection of French films. From comedy, romance, and drama to thrilling adventures.
Opening Night Film – The Richest Woman
Join us for a special screening of The Richest Woman in the World. Tix include a glass of wine on arrival! 7pm arrival for a 7:30pm film start. Few modern scandals have captivated France as the astonishing events surrounding Liliane Bettencourt, the billionaire heiress to the L’Oreal fortune and doyenne of Parisian society. Now writer/director Thierry Klifa has freely adapted the incredible story into a captivating dark comedy, featuring a jaw-dropping, tailor-made role for one of France’s most iconic stars. Marianne Farrère (Isabelle Huppert), the head of the Windler Group, is the richest woman in the world. Pierre-Alain Fantin (Laurent Lafitte) is a vivacious dandy, writer and photographer. After meeting on a photo shoot, the two quickly become inseparable. Their friendship – one where Pierre-Alain is only too happy to take financial advantage – surprises, amuses, intrigues, and eventually unsettles the billionaire’s entourage and family. Most of all, Marianne’s daughter (Marina Fois) struggles with her mother’s sudden complicity with this younger man, but her husband (André Marcon) and loyal butler (Raphaël Personnaz) share her concerns. Surreptitious queries soon transition into a private investigation, resulting in extraordinary ramifications for all involved… With several twists too good to spoil, THE RICHEST WOMAN IN THE WORLD makes the most of its fabulous ensemble cast, but Huppert and Lafitte simply eat up the screen. This wildly entertaining film became an enormous box-office hit in France for good reason.
Opening Night Film – The Richest Woman
Join us for a special screening of The Richest Woman in the World. Tix include a glass of wine on arrival! 7pm arrival for a 7:30pm film start. Few modern scandals have captivated France as the astonishing events surrounding Liliane Bettencourt, the billionaire heiress to the L’Oreal fortune and doyenne of Parisian society. Now writer/director Thierry Klifa has freely adapted the incredible story into a captivating dark comedy, featuring a jaw-dropping, tailor-made role for one of France’s most iconic stars. Marianne Farrère (Isabelle Huppert), the head of the Windler Group, is the richest woman in the world. Pierre-Alain Fantin (Laurent Lafitte) is a vivacious dandy, writer and photographer. After meeting on a photo shoot, the two quickly become inseparable. Their friendship – one where Pierre-Alain is only too happy to take financial advantage – surprises, amuses, intrigues, and eventually unsettles the billionaire’s entourage and family. Most of all, Marianne’s daughter (Marina Fois) struggles with her mother’s sudden complicity with this younger man, but her husband (André Marcon) and loyal butler (Raphaël Personnaz) share her concerns. Surreptitious queries soon transition into a private investigation, resulting in extraordinary ramifications for all involved… With several twists too good to spoil, THE RICHEST WOMAN IN THE WORLD makes the most of its fabulous ensemble cast, but Huppert and Lafitte simply eat up the screen. This wildly entertaining film became an enormous box-office hit in France for good reason.
A Private Life
Paris. A shocking death, a determined psychiatrist, and a truth no one else wants to see. When Paula Cohen-Solal (Virginie Efira, Waiting for Bojangles, AF FFF22) is found dead, the authorities rule it a suicide. But her psychiatrist, Lilian Steiner (Jodie Foster in her first major French-language role), refuses to accept it. Convinced that Paula’s husband Simon (Mathieu Amalric, Sink or Swim, AF FFF19) is involved, she decides to investigate on her own – even if it means venturing far beyond her professional limits. With the help of her ex-husband Gabriel (Daniel Auteuil, Love Boat, AF FFF25) and a hypnotist whose sessions trigger unsettling visions, Lilian is plunged into a labyrinth where memory, intuition, and doubt collide. Each vision brings her closer to the truth… or deeper into danger. Jodie Foster delivers a riveting performance worthy of her two Oscars and four Golden Globes, and showcases her sensational linguistic and emotional precision. Directed by Rebecca Zlotowski (Other People’s Children, AF FFF23), the film reimagines the investigative thriller with a bold twist – blending tension, dark humour, and witty couple dynamics within a charged psychological setting. Premiering at the 2025 Cannes Film Festival, this sharp, stylish investigation keeps audiences guessing until the very end. Do not miss it!
A Private Life
Paris. A shocking death, a determined psychiatrist, and a truth no one else wants to see. When Paula Cohen-Solal (Virginie Efira, Waiting for Bojangles, AF FFF22) is found dead, the authorities rule it a suicide. But her psychiatrist, Lilian Steiner (Jodie Foster in her first major French-language role), refuses to accept it. Convinced that Paula’s husband Simon (Mathieu Amalric, Sink or Swim, AF FFF19) is involved, she decides to investigate on her own – even if it means venturing far beyond her professional limits. With the help of her ex-husband Gabriel (Daniel Auteuil, Love Boat, AF FFF25) and a hypnotist whose sessions trigger unsettling visions, Lilian is plunged into a labyrinth where memory, intuition, and doubt collide. Each vision brings her closer to the truth… or deeper into danger. Jodie Foster delivers a riveting performance worthy of her two Oscars and four Golden Globes, and showcases her sensational linguistic and emotional precision. Directed by Rebecca Zlotowski (Other People’s Children, AF FFF23), the film reimagines the investigative thriller with a bold twist – blending tension, dark humour, and witty couple dynamics within a charged psychological setting. Premiering at the 2025 Cannes Film Festival, this sharp, stylish investigation keeps audiences guessing until the very end. Do not miss it!
Bon Voyage Marie
At 80 years old and suffering from an incurable cancer, Marie (Hélène Vincent, When Fall Is Coming, AF FFF25) is exhausted by pain and determined to leave life on her own terms. Her decision is clear: she plans to travel to Switzerland, where assisted suicide is legal, and end her life with dignity. When the time comes to tell her family, however, Marie panics. Faced with Bruno (David Ayala, The Big Hit, AF FFF21), her immature and unreliable son, and Anna (Juliette Gasquet), her teenage granddaughter navigating her own turmoil, she invents an elaborate lie. To spare them worry, she announces a family trip to Switzerland, supposedly to collect a mysterious inheritance from a Swiss bank. Accompanied by Rudy (Pierre Lottin, My Brother’s Band, AF FFF25), a caregiver she has only just met and who reluctantly becomes their driver, Marie and her family set off in an old camper van on an unexpected road trip. As the kilometres pass, will Marie find the courage to reveal her true intention before it is too late? Awarded at the Alpe d’Huez Comedy Film Festival for the performances of Hélène Vincent and Juliette Gasquet, BON VOYAGE MARIE, directed by Enya Baroux, is a tender and lucid family dramedy that approaches end-of-life choices with humour and deep humanity. Not to be missed!
Bon Voyage Marie
At 80 years old and suffering from an incurable cancer, Marie (Hélène Vincent, When Fall Is Coming, AF FFF25) is exhausted by pain and determined to leave life on her own terms. Her decision is clear: she plans to travel to Switzerland, where assisted suicide is legal, and end her life with dignity. When the time comes to tell her family, however, Marie panics. Faced with Bruno (David Ayala, The Big Hit, AF FFF21), her immature and unreliable son, and Anna (Juliette Gasquet), her teenage granddaughter navigating her own turmoil, she invents an elaborate lie. To spare them worry, she announces a family trip to Switzerland, supposedly to collect a mysterious inheritance from a Swiss bank. Accompanied by Rudy (Pierre Lottin, My Brother’s Band, AF FFF25), a caregiver she has only just met and who reluctantly becomes their driver, Marie and her family set off in an old camper van on an unexpected road trip. As the kilometres pass, will Marie find the courage to reveal her true intention before it is too late? Awarded at the Alpe d’Huez Comedy Film Festival for the performances of Hélène Vincent and Juliette Gasquet, BON VOYAGE MARIE, directed by Enya Baroux, is a tender and lucid family dramedy that approaches end-of-life choices with humour and deep humanity. Not to be missed!
Dossier 137
Stéphanie (Léa Drucker, The Stolen Painting, AF FFF25), an investigator at the French National Police General Inspectorate (IGPN), is assigned Case 137, involving Guillaume Girard (Côme Péronnet), a young man left in a critical condition after being struck by a rubber bullet during a tense demonstration in Paris. At first, nothing points to clear police misconduct — until Stéphanie discovers that the victim is from her own hometown, Saint-Dizier, turning the case into something far more personal. As she digs deeper, reviewing surveillance footage, retracing movements, and interviewing officers, Stéphanie confronts the ‘blue wall of silence’ that shields the institution. The few who might talk, hesitate; those who know more, refuse to. Her only support comes from Alicia Mady (Guslagie Malanda, Saint Omer, AF FFF23), a chambermaid and reluctant witness whose testimony could unlock the truth — but puts them both at risk of retaliation. Torn between loyalty and justice, Stéphanie finds herself increasingly isolated within a system determined to protect its own. Set against the backdrop of the gilets jaunes protests, CASE 137 is a gripping, socially-charged thriller from Dominik Moll (Only the Animals, AF FFF20), selected for official competition at the Cannes International Film Festival 2025.
Dossier 137
Stéphanie (Léa Drucker, The Stolen Painting, AF FFF25), an investigator at the French National Police General Inspectorate (IGPN), is assigned Case 137, involving Guillaume Girard (Côme Péronnet), a young man left in a critical condition after being struck by a rubber bullet during a tense demonstration in Paris. At first, nothing points to clear police misconduct — until Stéphanie discovers that the victim is from her own hometown, Saint-Dizier, turning the case into something far more personal. As she digs deeper, reviewing surveillance footage, retracing movements, and interviewing officers, Stéphanie confronts the ‘blue wall of silence’ that shields the institution. The few who might talk, hesitate; those who know more, refuse to. Her only support comes from Alicia Mady (Guslagie Malanda, Saint Omer, AF FFF23), a chambermaid and reluctant witness whose testimony could unlock the truth — but puts them both at risk of retaliation. Torn between loyalty and justice, Stéphanie finds herself increasingly isolated within a system determined to protect its own. Set against the backdrop of the gilets jaunes protests, CASE 137 is a gripping, socially-charged thriller from Dominik Moll (Only the Animals, AF FFF20), selected for official competition at the Cannes International Film Festival 2025.
Little Amelie or the Character of Rain
Amélie, a little Belgian girl born in Japan, spends her early years trapped within her own body: until she is two and a half, she sees herself as a simple “tube,” unable to act or express her feelings. In her innocence, she believes herself at the center of the world, almost divine, watched by adults who try to pierce her silence. Everything changes on her third birthday. A single piece of white chocolate sparks a breathtaking transformation: the child awakens to life. Light, fear, joy, sounds, and words surge within her like a burst of discovery. Amélie learns language, explores her family, and the paradise-like garden surrounding her home, as well as her first passions and aversions. Guided by her friend Nishio-san, every moment becomes an adventure, every feeling a revelation. Japan in the 1960s emerges in vibrant colours and delicate textures, reflecting Amélie’s emotions and her innocent, naïve, and wide-eyed perspective. This adaptation of Amélie Nothomb’s short novel celebrates the transition from early childhood to childhood, and the awakening of a mind marveling at the beauty of the world.
Little Amelie or the Character of Rain
Amélie, a little Belgian girl born in Japan, spends her early years trapped within her own body: until she is two and a half, she sees herself as a simple “tube,” unable to act or express her feelings. In her innocence, she believes herself at the center of the world, almost divine, watched by adults who try to pierce her silence. Everything changes on her third birthday. A single piece of white chocolate sparks a breathtaking transformation: the child awakens to life. Light, fear, joy, sounds, and words surge within her like a burst of discovery. Amélie learns language, explores her family, and the paradise-like garden surrounding her home, as well as her first passions and aversions. Guided by her friend Nishio-san, every moment becomes an adventure, every feeling a revelation. Japan in the 1960s emerges in vibrant colours and delicate textures, reflecting Amélie’s emotions and her innocent, naïve, and wide-eyed perspective. This adaptation of Amélie Nothomb’s short novel celebrates the transition from early childhood to childhood, and the awakening of a mind marveling at the beauty of the world.
Once Upon A Time Michel Legrand
ONCE UPON A TIME MICHEL LEGRAND offers a captivating portrait of the legendary composer and jazz virtuoso whose work transformed both music and cinema. Through never-before-seen archival footage and interviews with admirers and friends, including Barbra Streisand, the film celebrates a man who brought French music to the world stage and devoted himself tirelessly to his art until the very end. A prodigy from the age of ten, Legrand entered the Conservatoire de Paris and quickly distinguished himself. Three Oscars and seventy-five years later, he performed for the first time at the Philharmonie de Paris, delivering a triumphant concert that crowned a lifelong journey of innovation and musical curiosity. From the chanson tradition to film soundtracks, Legrand constantly reinvented his craft. He composed unforgettable scores for The Umbrellas of Cherbourg, Yentl and The Thomas Crown Affair, and collaborated with icons such as Jean-Luc Godard, Miles Davis, Dusty Springfield, Jacques Demy, Charles Aznavour, and Natalie Dessay. His melodies continue to enchant audiences worldwide. Presented at the 2025 Cannes Film Festival, the film blends rare archival footage, excerpts from Orson Welles’s The Other Side of the Wind – Legrand’s final composition – and images from his dazzling 2018 concert in Seville, resulting in a luminous tribute to one of the century’s greatest musical storytellers.
Redress
Prepare to be drawn into the mouth-watering mystery of REDRESS, where brilliance at the table coexists with unanswered questions lurking far from the spotlight. Paskal Jankovski (Clovis Cornillac, King of My Castle, AF FFF24) is hours away from the announcement of his third Michelin star – the ultimate consecration in global gastronomy – when he vanishes during a dawn hunting trip. At his side that day is Antoine, his trusted sous-chef (Julien de Saint‑Jean, Lie with Me, AF FFF23), whose ties to the Jankovski family run deeper than the kitchen, adding an unspoken layer of intrigue to the investigation that follows. Just 20 years old, Clara (Julia de Nunez), Paskal’s daughter, unexpectedly inherits the family restaurant, a bastion of French culinary artistry suddenly beseiged by uncertainty. The team, the produce, the rituals of service all hold firm, but the silence left behind grows louder. Two years later, a cryptic invitation draws her to Taiwan, where the puzzle begins to shift shape once again. Returning with renewed intensity after almost a decade away, auteur Régis Wargnier (The Gate, AF FFF15), France’s last Oscar-winning film Indochine, masterfully concocts a rare, cross-continental drama — a film crafted like a recipe, layered with mystery and emotion, designed to awaken curiosity long after the final course…
Redress
Prepare to be drawn into the mouth-watering mystery of REDRESS, where brilliance at the table coexists with unanswered questions lurking far from the spotlight. Paskal Jankovski (Clovis Cornillac, King of My Castle, AF FFF24) is hours away from the announcement of his third Michelin star – the ultimate consecration in global gastronomy – when he vanishes during a dawn hunting trip. At his side that day is Antoine, his trusted sous-chef (Julien de Saint‑Jean, Lie with Me, AF FFF23), whose ties to the Jankovski family run deeper than the kitchen, adding an unspoken layer of intrigue to the investigation that follows. Just 20 years old, Clara (Julia de Nunez), Paskal’s daughter, unexpectedly inherits the family restaurant, a bastion of French culinary artistry suddenly beseiged by uncertainty. The team, the produce, the rituals of service all hold firm, but the silence left behind grows louder. Two years later, a cryptic invitation draws her to Taiwan, where the puzzle begins to shift shape once again. Returning with renewed intensity after almost a decade away, auteur Régis Wargnier (The Gate, AF FFF15), France’s last Oscar-winning film Indochine, masterfully concocts a rare, cross-continental drama — a film crafted like a recipe, layered with mystery and emotion, designed to awaken curiosity long after the final course…
The French Job
After the theft of the century, the madness begins… On the night of May 19th, 2010, five paintings were stolen from the Musée d’Art Moderne de Paris. The five artworks, from artists including Matisse, Modigliani and Picasso, were estimated to be worth more than 100 million euros. While the paintings have never been recovered, this outrageous comedy tells a frenetic and madcap tale of what could have happened to these famous works. Melvil Poupaud (Jeanne du Barry) plays Yonathan, whose monotonous life is turned upside down when he encounters Eric (Sofiane Zermani), a brash, smooth-talking con artist/fence. When Eric hires Jo (Steve TIentcheu, Neneh Superstar), a skilled thief known as “The Spider Man of Paris”, to steal the paintings from the Museum of Modern Art, the three men’s lives are intertwined in an uncontrollable spiral. Anchored by a star turn from Melvil Poupaud as the perpetually anxious watch expert turned in circles by a fast talking criminal, this wonderfully told story takes audiences on an entertaining ride through one of the most famous art heists of recent times.
The French Job
After the theft of the century, the madness begins… On the night of May 19th, 2010, five paintings were stolen from the Musée d’Art Moderne de Paris. The five artworks, from artists including Matisse, Modigliani and Picasso, were estimated to be worth more than 100 million euros. While the paintings have never been recovered, this outrageous comedy tells a frenetic and madcap tale of what could have happened to these famous works. Melvil Poupaud (Jeanne du Barry) plays Yonathan, whose monotonous life is turned upside down when he encounters Eric (Sofiane Zermani), a brash, smooth-talking con artist/fence. When Eric hires Jo (Steve TIentcheu, Neneh Superstar), a skilled thief known as “The Spider Man of Paris”, to steal the paintings from the Museum of Modern Art, the three men’s lives are intertwined in an uncontrollable spiral. Anchored by a star turn from Melvil Poupaud as the perpetually anxious watch expert turned in circles by a fast talking criminal, this wonderfully told story takes audiences on an entertaining ride through one of the most famous art heists of recent times.
The Great Arch
A captivating Claes Bang (The Square) leads a superb ensemble cast in director Stéphane Demoustier’s darkly comic and thought-provoking new film, as an idealistic architect whose quest to build an ambitious landmark in Paris triggers unforeseen consequences. 1982. President François Mitterrand has launched an international competition to design the flagship project of his term: the Great Arch of La Défense, a building to match and complement the Louvre and the Arc de Triomphe. To the surprise of everyone, the commission is won by an unknown 53-year-old from Copenhagen, Otto von Spreckelsen. An outsider with only a few modernist churches to his name, the stunning submission – taking the form of a perfect white cube – becomes the talk of the capital. Spreckelsen and his wife Liv (the marvellous Sidse Babett Knudsen) arrive in Paris to commence work, overseen by the project’s shrewd managing bureaucrat (Xavier Dolan). However, the purity of Spreckelsen’s design is quickly tested not only by budgetary constraints but the vicissitudes of politics, forcing the couple to consider whether the pursuit of perfection is worth the emotional and physical toll. Inspired by remarkable true events, THE GREAT ARCH depicts a near-mythic story of both grand and lost illusions; a reminder that architecture, like cinema, is not just about one person’s vision, but also collective perception.
The Great Arch
A captivating Claes Bang (The Square) leads a superb ensemble cast in director Stéphane Demoustier’s darkly comic and thought-provoking new film, as an idealistic architect whose quest to build an ambitious landmark in Paris triggers unforeseen consequences. 1982. President François Mitterrand has launched an international competition to design the flagship project of his term: the Great Arch of La Défense, a building to match and complement the Louvre and the Arc de Triomphe. To the surprise of everyone, the commission is won by an unknown 53-year-old from Copenhagen, Otto von Spreckelsen. An outsider with only a few modernist churches to his name, the stunning submission – taking the form of a perfect white cube – becomes the talk of the capital. Spreckelsen and his wife Liv (the marvellous Sidse Babett Knudsen) arrive in Paris to commence work, overseen by the project’s shrewd managing bureaucrat (Xavier Dolan). However, the purity of Spreckelsen’s design is quickly tested not only by budgetary constraints but the vicissitudes of politics, forcing the couple to consider whether the pursuit of perfection is worth the emotional and physical toll. Inspired by remarkable true events, THE GREAT ARCH depicts a near-mythic story of both grand and lost illusions; a reminder that architecture, like cinema, is not just about one person’s vision, but also collective perception.
The Little Sister
Fatima (Nadia Melliti), 17, is the youngest daughter of a Franco-Algerian family living in the suburbs of Paris. Surrounded by her sisters, she grows up in a warm, loving household shaped by strong traditions and Muslim faith. A gifted student, she graduates high school and enrols in a philosophy program in Paris, where she is suddenly exposed to a world far removed from everything she knows. In the capital, new encounters and ideas unsettle her certainties. Torn between her attachment to family and faith and the stirrings of a new identity, Fatima begins to question who she can be. The awakening of her attraction to women profoundly disrupts her balance, placing her between two worlds: one of belief and belonging, and another of desire, freedom, and self-discovery. On paper, everything seemed in place for yet another story of intra-family conflict. But Hafsia Herzi takes a different path. With sensitivity and intelligence, she sidesteps the expected tensions to deliver a film of rare beauty, infused with sincerity and quiet joy. Adapted from Fatima Daas’ novel, THE LITTLE SISTER was selected for the Official Competition at the 2025 Cannes Film Festival, where Nadia Melliti won the Best Actress award and the film received the Queer Palm. A pure gem not to be missed.
The Little Sister
Fatima (Nadia Melliti), 17, is the youngest daughter of a Franco-Algerian family living in the suburbs of Paris. Surrounded by her sisters, she grows up in a warm, loving household shaped by strong traditions and Muslim faith. A gifted student, she graduates high school and enrols in a philosophy program in Paris, where she is suddenly exposed to a world far removed from everything she knows. In the capital, new encounters and ideas unsettle her certainties. Torn between her attachment to family and faith and the stirrings of a new identity, Fatima begins to question who she can be. The awakening of her attraction to women profoundly disrupts her balance, placing her between two worlds: one of belief and belonging, and another of desire, freedom, and self-discovery. On paper, everything seemed in place for yet another story of intra-family conflict. But Hafsia Herzi takes a different path. With sensitivity and intelligence, she sidesteps the expected tensions to deliver a film of rare beauty, infused with sincerity and quiet joy. Adapted from Fatima Daas’ novel, THE LITTLE SISTER was selected for the Official Competition at the 2025 Cannes Film Festival, where Nadia Melliti won the Best Actress award and the film received the Queer Palm. A pure gem not to be missed.
The Musicians
The enchanting new comedy of manners from acclaimed writer/director Grégory Magne (whose debut Perfumes was a sleeper success in 2019), THE MUSICIANS stars Valérie Donzelli as a wealthy heiress whose plan to stage a landmark concert is derailed by the clashing egos of the virtuosos recruited for the performance. Astrid Thompson (Donzelli) is determined to honour her late industrialist father’s final wish: unite four priceless Stradivariusstringed instruments for the premiere recital of a new composition by his favourite artist, to be live-streamed for music lovers globally. With just six days to rehearse, a quartet is assembled, but the dream quickly unravels: the musicians are at odds, blinded by their differences and prejudices, and seemingly incapable of working together. With the deadline fast approaching, Astrid tries to coax the reclusive composer of the score, Charlie Beaumont (Frédéric Pierrot), out from creative seclusion in the desperate hope of salvaging the event… As the film crescendos to a tender, exhilarating finale where harmony is found not only in music but human connection, THE MUSICIANS celebrates both the chaos and beauty of collaboration. Set amidst the villas, vineyards, and chapels of the stunning Champagne region, with an exquisite original score by Grégoire Hetzel, this is sparkling entertainment for the heart (and ears).
The Musicians
The enchanting new comedy of manners from acclaimed writer/director Grégory Magne (whose debut Perfumes was a sleeper success in 2019), THE MUSICIANS stars Valérie Donzelli as a wealthy heiress whose plan to stage a landmark concert is derailed by the clashing egos of the virtuosos recruited for the performance. Astrid Thompson (Donzelli) is determined to honour her late industrialist father’s final wish: unite four priceless Stradivariusstringed instruments for the premiere recital of a new composition by his favourite artist, to be live-streamed for music lovers globally. With just six days to rehearse, a quartet is assembled, but the dream quickly unravels: the musicians are at odds, blinded by their differences and prejudices, and seemingly incapable of working together. With the deadline fast approaching, Astrid tries to coax the reclusive composer of the score, Charlie Beaumont (Frédéric Pierrot), out from creative seclusion in the desperate hope of salvaging the event… As the film crescendos to a tender, exhilarating finale where harmony is found not only in music but human connection, THE MUSICIANS celebrates both the chaos and beauty of collaboration. Set amidst the villas, vineyards, and chapels of the stunning Champagne region, with an exquisite original score by Grégoire Hetzel, this is sparkling entertainment for the heart (and ears).
The Party’s Over
Freshly graduated corporate lawyer Mehdi (Sami Outalbali, internationally recognised as Rahim in Sex Education) is spending the summer at the luxurious South of France villa owned by his girlfriend Garance’s family. The Trousselards are everything he is not: wealthy, polished, and quietly condescending. Philippe (Laurent Lafitte, The Count of Monte Cristo, AF FFF25), Garance’s father, is a celebrated Parisian lawyer who never misses an opportunity to assert his superiority. His wife, a once-promising actress, struggles with a fading fame and unfulfilled ambitions. In the background, the estate’s caretakers, Tony and Nadine (Ramzy Bedia and Laure Calamy – who needs no introduction), live on the property with their daughter, maintaining the villa while enduring a series of subtle humiliations. When a financial dispute arises, the family’s refined manners begin to crumble, exposing long-simmering tensions. Coming from a modest background, Mehdi instinctively sympathises with the caretakers. But eager to secure an internship at Philippe’s prestigious law firm, he attempts to mediate between the two sides, only to find himself trapped in a conflict that spirals beyond his control, where money, pride, and power collide. Directed by Antony Cordier (Happy Few, AF FFF11), this sharp dark comedy draws on real-life situations pushed to satirical extremes, delivering a biting portrait of class privilege and the fragility of civility.
The Party’s Over
Freshly graduated corporate lawyer Mehdi (Sami Outalbali, internationally recognised as Rahim in Sex Education) is spending the summer at the luxurious South of France villa owned by his girlfriend Garance’s family. The Trousselards are everything he is not: wealthy, polished, and quietly condescending. Philippe (Laurent Lafitte, The Count of Monte Cristo, AF FFF25), Garance’s father, is a celebrated Parisian lawyer who never misses an opportunity to assert his superiority. His wife, a once-promising actress, struggles with a fading fame and unfulfilled ambitions. In the background, the estate’s caretakers, Tony and Nadine (Ramzy Bedia and Laure Calamy – who needs no introduction), live on the property with their daughter, maintaining the villa while enduring a series of subtle humiliations. When a financial dispute arises, the family’s refined manners begin to crumble, exposing long-simmering tensions. Coming from a modest background, Mehdi instinctively sympathises with the caretakers. But eager to secure an internship at Philippe’s prestigious law firm, he attempts to mediate between the two sides, only to find himself trapped in a conflict that spirals beyond his control, where money, pride, and power collide. Directed by Antony Cordier (Happy Few, AF FFF11), this sharp dark comedy draws on real-life situations pushed to satirical extremes, delivering a biting portrait of class privilege and the fragility of civility.
The Richest Woman In The World
Few modern scandals have captivated France as the astonishing events surrounding Liliane Bettencourt, the billionaire heiress to the L’Oreal fortune and doyenne of Parisian society. Now writer/director Thierry Klifa has freely adapted the incredible story into a captivating dark comedy, featuring a jaw-dropping, tailor-made role for one of France’s most iconic stars. Marianne Farrère (Isabelle Huppert), the head of the Windler Group, is the richest woman in the world. Pierre-Alain Fantin (Laurent Lafitte) is a vivacious dandy, writer and photographer. After meeting on a photo shoot, the two quickly become inseparable. Their friendship – one where Pierre-Alain is only too happy to take financial advantage – surprises, amuses, intrigues, and eventually unsettles the billionaire’s entourage and family. Most of all, Marianne’s daughter (Marina Fois) struggles with her mother’s sudden complicity with this younger man, but her husband (André Marcon) and loyal butler (Raphaël Personnaz) share her concerns. Surreptitious queries soon transition into a private investigation, resulting in extraordinary ramifications for all involved… With several twists too good to spoil, THE RICHEST WOMAN IN THE WORLD makes the most of its fabulous ensemble cast, but Huppert and Lafitte simply eat up the screen. This wildly entertaining film became an enormous box-office hit in France for good reason.
The Richest Woman In The World
Few modern scandals have captivated France as the astonishing events surrounding Liliane Bettencourt, the billionaire heiress to the L’Oreal fortune and doyenne of Parisian society. Now writer/director Thierry Klifa has freely adapted the incredible story into a captivating dark comedy, featuring a jaw-dropping, tailor-made role for one of France’s most iconic stars. Marianne Farrère (Isabelle Huppert), the head of the Windler Group, is the richest woman in the world. Pierre-Alain Fantin (Laurent Lafitte) is a vivacious dandy, writer and photographer. After meeting on a photo shoot, the two quickly become inseparable. Their friendship – one where Pierre-Alain is only too happy to take financial advantage – surprises, amuses, intrigues, and eventually unsettles the billionaire’s entourage and family. Most of all, Marianne’s daughter (Marina Fois) struggles with her mother’s sudden complicity with this younger man, but her husband (André Marcon) and loyal butler (Raphaël Personnaz) share her concerns. Surreptitious queries soon transition into a private investigation, resulting in extraordinary ramifications for all involved… With several twists too good to spoil, THE RICHEST WOMAN IN THE WORLD makes the most of its fabulous ensemble cast, but Huppert and Lafitte simply eat up the screen. This wildly entertaining film became an enormous box-office hit in France for good reason.
The Stranger (L’étranger)
The superb new film from multi-award winning writer/director François Ozon (‘Swimming Pool’, ‘8 Women’, ‘Under the Sand’), THE STRANGER is a gripping adaptation of Albert Camus’ landmark novella about a detached young expat under trial for murder in French-colonised Algeria. Summer, 1938. Meursault (Benjamin Voisin, ‘Lost Illusions’), a quiet and unassuming clerk in his early thirties, attends his mother’s funeral. The next day, he begins a casual affair with Marie (Rebecca Marder), a colleague randomly encountered at the local baths, and quickly slips back into routine. However, daily life is soon disrupted by his volatile neighbour (an excellent Pierre Lottin, My Brother’s Band), who draws Meursault into an altercation involving an ex-lover. And then, one blisteringly hot afternoon, an inexplicable event occurs on a beach, one that will see Meursault’s very moral standing brought to question… Visually resplendent with sensuous black-and-white images, Ozon’s elegant and masterfully realised film shines a contemporary lens on Camus’ classic tale of dissociation and morality, capturing the beauty and heat of a charged society on the boil. Both impactful and mysterious, THE STRANGER is must-see French cinema of the highest order.
The Stranger (L’étranger)
The superb new film from multi-award winning writer/director François Ozon (‘Swimming Pool’, ‘8 Women’, ‘Under the Sand’), THE STRANGER is a gripping adaptation of Albert Camus’ landmark novella about a detached young expat under trial for murder in French-colonised Algeria. Summer, 1938. Meursault (Benjamin Voisin, ‘Lost Illusions’), a quiet and unassuming clerk in his early thirties, attends his mother’s funeral. The next day, he begins a casual affair with Marie (Rebecca Marder), a colleague randomly encountered at the local baths, and quickly slips back into routine. However, daily life is soon disrupted by his volatile neighbour (an excellent Pierre Lottin, My Brother’s Band), who draws Meursault into an altercation involving an ex-lover. And then, one blisteringly hot afternoon, an inexplicable event occurs on a beach, one that will see Meursault’s very moral standing brought to question… Visually resplendent with sensuous black-and-white images, Ozon’s elegant and masterfully realised film shines a contemporary lens on Camus’ classic tale of dissociation and morality, capturing the beauty and heat of a charged society on the boil. Both impactful and mysterious, THE STRANGER is must-see French cinema of the highest order.
What is Love?
Prepare to be drawn into the mouth-watering mystery of REDRESS, where brilliance at the table coexists with unanswered questions lurking far from the spotlight. Paskal Jankovski (Clovis Cornillac, King of My Castle, AF FFF24) is hours away from the announcement of his third Michelin star – the ultimate consecration in global gastronomy – when he vanishes during a dawn hunting trip. At his side that day is Antoine, his trusted sous-chef (Julien de Saint‑Jean, Lie with Me, AF FFF23), whose ties to the Jankovski family run deeper than the kitchen, adding an unspoken layer of intrigue to the investigation that follows. Just 20 years old, Clara (Julia de Nunez), Paskal’s daughter, unexpectedly inherits the family restaurant, a bastion of French culinary artistry suddenly beseiged by uncertainty. The team, the produce, the rituals of service all hold firm, but the silence left behind grows louder. Two years later, a cryptic invitation draws her to Taiwan, where the puzzle begins to shift shape once again. Returning with renewed intensity after almost a decade away, auteur Régis Wargnier (The Gate, AF FFF15), France’s last Oscar-winning film Indochine, masterfully concocts a rare, cross-continental drama — a film crafted like a recipe, layered with mystery and emotion, designed to awaken curiosity long after the final course…
What is Love?
Prepare to be drawn into the mouth-watering mystery of REDRESS, where brilliance at the table coexists with unanswered questions lurking far from the spotlight. Paskal Jankovski (Clovis Cornillac, King of My Castle, AF FFF24) is hours away from the announcement of his third Michelin star – the ultimate consecration in global gastronomy – when he vanishes during a dawn hunting trip. At his side that day is Antoine, his trusted sous-chef (Julien de Saint‑Jean, Lie with Me, AF FFF23), whose ties to the Jankovski family run deeper than the kitchen, adding an unspoken layer of intrigue to the investigation that follows. Just 20 years old, Clara (Julia de Nunez), Paskal’s daughter, unexpectedly inherits the family restaurant, a bastion of French culinary artistry suddenly beseiged by uncertainty. The team, the produce, the rituals of service all hold firm, but the silence left behind grows louder. Two years later, a cryptic invitation draws her to Taiwan, where the puzzle begins to shift shape once again. Returning with renewed intensity after almost a decade away, auteur Régis Wargnier (The Gate, AF FFF15), France’s last Oscar-winning film Indochine, masterfully concocts a rare, cross-continental drama — a film crafted like a recipe, layered with mystery and emotion, designed to awaken curiosity long after the final course…