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‘france’: film review | cannes 2021.

Léa Seydoux stars in Bruno Dumont's competition entry as a TV personality who's rich, famous and unhappy.

By Boyd van Hoeij

Boyd van Hoeij

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French director Bruno Dumont is nothing if not an iconoclast, so it’s no surprise when he tries something new. Not one but two rock musicals inspired by the life of Joan of Arc? Sure. Crazy comedy? Dour drama? Or both at once if it’s for TV? Check, check and check. Explosive violence? Explicit sex? Raw realism? If you want it, at least one of Dumont’s films has got it. Perhaps the single throughline in his body of work is that it is always uncompromising and intense.

His latest feature, simply titled France , feels like something truly unexpected. The film is a glossy yet relatively cold examination of a famous TV presenter in crisis with uneasy hints of what could be satire. More often than not, the staging feels conventional rather than uncompromising. The tone is rarely intense. On the contrary, it is hard to figure out what Dumont’s vision really was for this work.

Full credits

Venue: Cannes Film Festival (Competition) Production companies: 3B Productions, Arte France Cinema, Scope Pictures Cast: Lea Seydoux, Benjamin Biolay, Blanche Gardin, Emanuele Arioli, Jawad Zemmar Writer-Director: Bruno Dumont Producers: Jean Brehat, Muriel Merlin, Rachid Bouchareb Cinematography: David Chambille Production design: Erwan Le Gall Costume design: Alexandra Charles Editing: Nicolas Bier Music: Christophe Casting: Clement Morelle Sales: Indie Sales

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France Reviews

We’re accustomed to Dumont leapfrogging from one genre to another, but he has seldom attempted so many swerves and shifts as he manages here. France, like the director, makes for a pleasing guessing game.

Full Review | Original Score: 4/5 | Jan 3, 2023

Doughty Léa Seydoux does her best with this toothless and tedious media satire, but not even two hours of verklempt close-ups can save a movie with so little to say.

Full Review | Original Score: 1/5 | Jan 3, 2023

France is watchable, if not subtle, but the picture labours its message with an overstretched running time and an oddly anticlimactic structure.

Full Review | Original Score: 3/5 | Jan 1, 2023

Thanks to her [Léa Seydoux's] performance, France is never less than intriguing. But it’s also extremely hard to get along with – a broadcast-news parable whose sense of purpose keeps fuzzing in and out.

Full Review | Original Score: 2/5 | Dec 28, 2022

Whatever its flaws, this movie provides fans of French star Léa Seydoux with a treat.

Full Review | Original Score: 3/5 | Dec 27, 2022

France, the protagonist and film, is anarchic, unstructured, unstable, sometimes hilarious, sometimes terribly banal, and other times intelligent. [Full review in Spanish]

Full Review | Original Score: 6/10 | Dec 20, 2022

Léa Seydoux takes us through a hard-bitten contemporary world where truth changes from one minute to the next and tragedy has become an Instagram filter, a godless mystical XXI century. [Full review in Spanish]

Full Review | Jun 14, 2022

France is a bold move but hardly a successful one.

Full Review | Original Score: 2.5/5 | Feb 18, 2022

Dumont's mansplained femme fatale nation. And whether France the country or its failed female metaphor, all dressing literally and no substance politically, and nowhere to go. And fictitious scenario media and moviemaking alike, going along to get along.

Full Review | Feb 13, 2022

Something here feels lost in translation. "France" is like trying to complete a puzzle when one of the pieces is missing.

Full Review | Original Score: C | Feb 3, 2022

Even after 2 hours and 13 minutes, France's lack of clear vision means all it can offer audiences is a shrug in response.

Full Review | Jan 31, 2022

Seydoux is a terrific actor, striking and enigmatic. Unlike Brooks and Dreyer, she suffers in service of a filmmaker who fails her.

Full Review | Jan 28, 2022

The entire film her canvas, breaking more walls than a whole demolition crew.

[A] tasty and nutritious bouillabaisse of a film...

Full Review | Original Score: 3/4 | Jan 27, 2022

In France Dumont seems to be likening the news celeb culture to a new religion, with France's garishly decorated apartment, including stained glass wall featuring some mundane pop art pastoral, as our new altar.  

Full Review | Jan 27, 2022

Beginning as an edgy satire, "France" becomes much more personal and thoughtful as we follow our protagonist through a crushing breakdown.

Full Review | Original Score: 7/10 | Jan 22, 2022

Even when it's outlining its own ideas more through rhetoric than character, "France" keeps us on our toes regarding what's around the corner.

Full Review | Original Score: 3/4 | Jan 21, 2022

A satire of modern media turns into something tragic... Gorgeously shot, wholeheartedly despairing and often extremely funny, in Seydoux's performance, it's a slippery portrait of a modern professional losing control of both surfaces and depths.

Full Review | Original Score: 7/10 | Jan 21, 2022

Seydoux takes on the airs and mannerisms of Grace Kelly, Greta Garbo, Jeanne Moreau, and Catherine Deneuve. Appearing in practically every scene, it wouldn't be a stretch to state the movie would have not worked at all without her as the lead.

Full Review | Original Score: 3/5 | Jan 18, 2022

Shot in eye-pounding high-def, to bring out the sparkly whiteness of Léa Seydoux's dazzling, erotic teeth, France creates a unique digital anxiety in the viewer that demands full attention.

Full Review | Jan 18, 2022

Breaking News

Review: ‘France’ showcases Léa Seydoux as a guilt-ridden TV journalist

A woman's reflection is seen in two mirrors.

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The movie “France” has a main character named France de Meurs and is not exactly subtle for the ways in which the character and the film are meant to be a metaphor for the modern state of their namesake nation. Written and directed by Bruno Dumont, the movie captures a sense of a country more interested in image than reality and awkwardly grappling with a fast-changing culture with which traditional power structures can’t keep up. (Sound familiar?)

Played by Léa Seydoux, France de Meurs is a superstar television journalist, host of panel shows and her own reports. She is in a functional but unhappy marriage, lives in a palatial apartment that looks more like a museum and tries to dote on her unreceptive son.

One day she accidentally hits a delivery driver on a motor scooter with her car, injuring the young immigrant who supports his family. This sends France into a spiral of guilt and self-reflection, as she first tries to win over the family with charm and then ply them with money. This causes her to question her fame and ask herself for the first time if she is genuinely helping or hurting those she covers as a journalist as well as the people in her life.

Seydoux has been seen this year in the James Bond film “No Time to Die” and Wes Anderson’s “The French Dispatch.” When “France” premiered earlier this year at the Cannes Film Festival, Seydoux had three other films playing there and was unable to attend the festivities because she had been diagnosed with COVID while shooting anther project. “France” perfectly exhibits why she‘s in such high demand, as she easily blends the magnetic presence of a genuine star and the deeply felt interiority of a true actor.

“France” may be her richest performance yet, capturing the tension between the character’s roiling inner turmoil and her professionally placid exterior. Seydoux is such a striking screen presence that she nearly makes the lacquered hair and garish makeup of a flashy TV host seem chic. Everywhere she goes, someone asks for her picture; after her accident becomes tabloid fodder, paparazzi follow her about. Her fame, for which she worked so hard, becomes increasingly hollow and useless.

Throughout the film, we see the end of France’s broadcasts, as she wraps up argumentative, cross-talking guests. What is being said or who is saying it is beside the point. All that matters to her is the fireworks of the show, not the meaning of the content. Eventually, in a bathroom at a gala event, a woman asks France if she considers herself right-wing or left-wing politically and Seydoux plays the moment with a wonderful blankness, as if she had never even considered such a thing. She coolly delivers a non-response, asking “What difference would it make?”

The film is at its most biting when it satirizes a certain self-involved obliviousness. There is grim humor to scenes of France in the field, stage-directing refugees or Middle Eastern fighters on where to look and how to act for b-roll footage to fit what she needs, without much concern for what they are actually doing.

A man points a camera toward a woman holding a microphone on a boat amid a group of seated men

Blanche Gardin, a popular French comedian, plays France’s producer with a cynical bluntness that eventually catches up to both of them, with disastrous results. The film spins out toward the end, especially when it heaps additional tragedies on France. Yet it also leaves viewers often simply contemplating Seydoux’s face, at once open and inscrutable.

As if to make a film called “France” about a character named France even just a little more French, the film also features a score by Christophe, a musician revered in his native country but largely unknown in the United States. (His signature song, “Aline,” as performed by Jarvis Cocker , was featured in “The French Dispatch.”) Christophe died in 2020, shortly after completing his work on Dumont’s film.

Dumont has had an unusual career, moving from the austerity of his early films such as “The Life of Jesus” and “Humanity” to the more freewheeling and absurdist “L’il Quinquin” and “Slack Bay.” The new film combines those poles to an extent, with an intensity in the way it remains focused on the main character but able to use Seydoux’s star power to make something more accessible and appealing.

The film captures behind-the-scenes media drama in a much better fashion than the American streaming series “The Morning Show.” Seydoux brings a vulnerability to the role even when the character is at her most monstrous. In part because of the depth of Seydoux’s performance, the film becomes less an allegory of a nation and more a gripping character study, a portrait of a mask of personal and professional regard slowly slipping away.

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‘France’ Review: Léa Seydoux Plays a Poker-Faced TV Anchor in Bruno Dumont’s Messy Media Parody

A tough-to-untangle mix of classic screwball comedy and straight-faced critique, this caustic attack on French TV news sends too many mixed messages.

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By far the most biting and ironic satire to premiere in Cannes competition this year — a divisive comedy whose cynicism was met with boos at the press screening — Bruno Dumont ’s “ France ” doesn’t want to be liked. That’s more than can be said of its eponymous protagonist, France de Meurs (Léa Seydoux), the country’s top news anchor and a damning representation of the journalist-as-star phenomenon. Picture a cross between Anderson Cooper and Megyn Kelly, an attention-thirsty TV personality who beams when her followers tweet “France for president,” but tears up when a politician insults her backstage, reducing her to nothing more than “a pretty tool” for a profit-seeking news network.

France does a lot of crying, both on camera and off, in “France,” though Dumont is tricky enough about the tone of this mainstream-media critique — which plays fast and loose with classic melodrama tropes, packaged like the cold, sleek update to a 1940s “women’s picture” — that audiences can never be sure whether her tears are genuine or not. That will no doubt remind Americans of concerns the movie “Broadcast News” raised 34 years earlier, although in that case, “the devil” was a far more compelling character.

Popular on Variety

Right away, the filmmaker wants to confront audiences with the discrepancy between the image of authority and respect newscasters cultivate and the disrespectful way they conduct themselves. Later, hammering the same point, Lou bumps a switch in the control booth, accidentally broadcasting the unfiltered and totally inappropriate meta-chatter between the host and her producer as they joke about a boatload of immigrants France pretended to accompany on a dangerous sea crossing. If only her fans could hear the condescending “bock bock bock” noises France and Lou make behind the backs of the throngs who approach her for autographs in the street — crowds that can turn vicious as soon as their illusions are shattered.

Dumont has studied the media enough to get in a few genuinely effective jabs, though it’s hard to engage with the half of “France” that concerns itself with the character’s private life since she’s so cold and inscrutable. She lives in a posh Paris apartment garishly decorated to look like some kind of satanic art gallery, which she shares with less-famous husband Fred (Benjamin Biolay), whom she resents, and son Jo (Gaëtan Amiel), who takes a back seat to her career. Driving the boy to school one day, France bumps a scooter in traffic.

Compared with an over-the-top accident that occurs later in the film (that one piling on horrible details for darkly comedic effect), this fender-bender feels like no big deal, though France turns it into her latest humanitarian cause, going far beyond the call of duty to compensate the victim, Baptiste (Jawad Zemmar, one of those memorable-looking nonprofessionals Dumont loves to cast). Is she sincere or simply playing to the cameras, which materialize almost instantly at the scene of the accident? Or maybe she sees this as a kind of divine warning, a karmic close call, although Seydoux’s performance is too unreadable most of the time to know what the character is thinking.

France takes it upon herself to visit Baptiste at home, another strangely decorated apartment, this one much nicer than the stereotype audiences might expect of an immigrant family living in Paris (signifying what, that Baptiste doesn’t need her charity?). The pressure starts to be too much for France, who sneaks away to a clinic for the rich and famous to gain some perspective, falling for an undercover journalist (Emanuele Arioli) in the movie’s most unbelievable twist. After selling her story to the tabloids, the scumbag resurfaces, insisting that their “love” was real — which reads like a parody of Hollywood romances where such characters wind up together.

But if “France” is meant to be a sendup of classic screwball comedies, Dumont doesn’t seem like the screenwriter to pull it off. His dialogue blends wonky syntax with embarrassing clichés — not at all how French newscasters speak on air. Has he or Seydoux ever actually watched French TV? In reality, French TV anchors bring elegance and poise to their profession, delivering the headlines with an almost musical lilt, as opposed to the stiff, sullen energy of Seydoux’s performance, in which she seems to be channeling mid-career Catherine Deneuve.

Even the costuming and makeup seem off: Modern TV networks have a nasty habit of sexualizing their hosts, whereas France’s m atronly wardrobe and unflattering lighting actively play against Seydoux’s Bond-girl image, suggesting that the character has somehow transcended the objectification. An awful lot of “France” remains too vague to reach meaningful conclusions, like the scene where a wealthy admirer corners her in the ladies’ room and asks whether she’s right- or left-wing. “What difference would it make?” de Meurs demurs, when in fact, everything depends on her answer.

Unlike other auteurs, Dumont has never proved that he knows how to do it “right,” which makes the uneven and ambiguous choices in “France” all the more maddening: Is he deliberately subverting expectations or just too clumsy to deliver the tone he’s going for? The entire project is set to the music of beloved French composer Christophe, whose signature melancholy vibe adds yet another weird counterpoint to all the competing layers of interpretation. For those willing to take the film seriously, there’s a lot here to unpack. The rest will probably just reach for the remote.

Reviewed at Cannes Film Festival (Competition), July 16, 2021. Running time: 133 MIN.

Production: (France-Germany-Italy-Belgium) An ARP Selection release of a 3B Prods. production, in co-production with Red Balloon Film, Tea Time Film, Ascent Film, Scope Pictures, Arte France Cinema, Bayerischer Rundfunk, RAI Cinema, in cooperation with Arte — with the support of Eurimages, Région Ile-de-France, Pictanovo, Région Hauts-de-France, in partnership with CNC, Procirep, Filmförrderfonds Bayern, Filmförderung Hamburg Schleswig - Hostein, Mibact, with the participation of Ciné Plus, Arte France, RAI Cinema, in association with Sofitvcine 7, Cinemage 14, Indie Sales. (World sales: Indie Sales, Paris.) Producers: Dorothe Beinemeier, Fabrizio Mosca, Marcantonio Borghese, Andrea Paris, Matteo Rovere, Ines Vailejevic, Geneviève Lemal. Executive producers: Jean Vréhat, Rachid Bouchareb, Muriel Merlin.
Crew: Director, writer: Bruno Dumont. Camera: David Chambille. Editor: Nicolas Bier. Music: Christophe.
With: Léa Seydoux, Blanche Gardin, Benjamin Biolay, Emanuele Arioli, Juliane Köhler, Gaëtan Amiel, Jawad Zemmar, Marc Bettinelli.

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France de Meurs standing outside in a bullet proof vest and a helmet.

Bruno Dumont, who has been on a tear of uproarious and politically trenchant inventiveness since making the 2014 drama “Li’l Quinquin,” rips furiously into the Internet-juiced mediascape in his new film, “France” (opening in theatres on Dec. 10). The title refers both to the country and to a TV journalist, France de Meurs (Léa Seydoux), whose ambitious yet stage-managed reports from war zones—and one-upping confrontations with officials, including France’s President, Emmanuel Macron—are done with one eye on ratings and the other on social media. These exploits have made her famous, and fame has alienated her from her principles, her emotions, her family, and herself. A minor accident that becomes a major Internet sensation sends her into a tailspin of depression and into another vortex of media attention; real tragedy hits mainly as a photo op. Amid the film’s riotous satire involving tricked-out news and political distortions, Dumont plants a melancholy melodrama of an identity crisis: the television star and the nation are equally unrecognizable to themselves, and equally isolated in the distorting mirrors of their own fabricated images. (Dec. 3.)

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Directed by Bruno Dumont

A celebrity journalist, juggling her busy career and personal life, has her life over-turned by a freak car accident.

Léa Seydoux Blanche Gardin Benjamin Biolay Emanuele Arioli Juliane Köhler Gaëtan Amiel Jawad Zemmar Marc Bettinelli Lucile Roche Noura Benbahlouli Abdellah Chahouat Alfred de Montesquiou Emmanuel Macron

Director Director

Bruno Dumont

Producers Producers

Rachid Bouchareb Jean Bréhat Muriel Merlin Dorothe Beinemeier Marcantonio Borghese Geneviève Lemal Fabrizio Mosca Andrea Paris Olivier Père Matteo Rovere Ines Vasiljević

Writer Writer

Editor editor.

Nicolas Bier

Cinematography Cinematography

David Chambille

Assistant Director Asst. Director

Rémi Bouvier

Art Direction Art Direction

Erwan Le Gal

Set Decoration Set Decoration

Pierre Renaux Pauline Stern

Visual Effects Visual Effects

My Lan Nguyen Quang

Composer Composer

Sound sound.

Gert Janssen Philippe Lecoeur Romain Ozanne

Costume Design Costume Design

Alexandra Charles

3B Productions Red Balloon Film Tea Time Film Ascent Film SCOPE Pictures ARTE France Cinéma BR RAI Cinema

Belgium France Germany Italy

Primary Language

Spoken languages.

English Arabic French German

Releases by Date

15 jul 2021, 07 oct 2021, 25 aug 2021, 21 oct 2021, 10 dec 2021, 13 jan 2022, 24 mar 2022, 09 jun 2022, 27 oct 2022, 04 jan 2022, 24 mar 2024, 05 jan 2022, 21 apr 2022, releases by country.

TV Super Écran
Premiere Cannes Film Festival
Digital VOD
Physical DVD & Blu-Ray
Theatrical 12

Russian Federation

Theatrical 16+

South Korea

Premiere Busan International Film Festival

133 mins More at IMDb TMDb Report this page

Popular reviews

Review by Hari Nef 3

i wasn't going to review this because it felt like there was too much to say, but weeks later i'm still ranting and raving about–yeah–my fav of the year

like lol i was powerless to resist: a french arthouse film about a punishingly beautiful female celebrity named "france." she has white skin and blue eyes; she favors blood red lipstick

'france' devotes thousands of seconds to closeups of france's face: trembling to contorted, crying or trying not to. 'france' shrieks its metaphors: "france cries!" "france laughs!" "france loses!" "france wins!" a younger man–also beautiful, a journalist–wails on the side of the road: "i love you france!"

dumont's satire is affective rather than purely discursive; 'france's' france pulls goofy faces in…

Review by Filipe Furtado ★★★★ 2

An essay on how images are created, projected and consumed. It is inseparable from Seydoux movie star performance, one of the year's best but also one that exists pretty much as a star text that both impose herself over everything else and is getting mined by the camera. France is loaded with signifiers, I mean it is called France, Macron is literally in the opening scene, but it is not really a media satire at least not in the Network kind of way. Part of Dumont genius is that there is really not much difference between third rate TV news and Cannes approved auteur vehicles, the specific thrall of manufactered image is disturbing close and the movie doesn't really allow…

Review by Diogo Serafim ★★★½ 3

Reality rendered as fiction, an essay on images (or maybe more simply an essay on Seydoux’s image, which is almost the same thing here). The film departs from a poisonous depiction of media articulated from its guts, a world of artifice where truth lies always on its borders, a world of spectacle that summarizes a relation of love and hate with a country, its politics and the media’s role on all that. With an intensely satirical tone and heavily flirting with melodrama, it internalizes this discourse in its form and narrative, and specially on its main character, the semiotic symbol that encapsulates all this. And the film really does a great job on showcasing a very vivid portrait of France…

Review by Cassidy Olsen ★½ 1

Léa Seydoux’s crying pout vs. Florence Pugh’s crying pout cage match

Review by John ★★★ 1

This review may contain spoilers. I can handle the truth.

That car crash sequence was some of the best comedy I’ve seen in a movie period

Review by shookone ★★ 2

as usual with Bruno Dumont his satirical outings are painfully clumsy and on-the-nose endeavours. this one now is so openly caricaturesque, that he forgets a little bit about his wooden and tenaciously dogmatic style, and stages what feels like a very open satire of the media landscape, political world and double standards of a society with the cultural hegemony. fake tears and more fake tears. staging, orchestrating and spreading more tears. only in the betrayal lies the moment of true emotions. and what is love if not the fakest and truest affect of them all?

Dumont finally translates his ivory tower cinema into a very direct language, and as stiff as this might still be, i do appreciate the development. it continues to be a questionable way of filmmaking, but the biting critique is very palpable this time around.

Review by ˗ˏˋ suspirliam ˊˎ˗ ★★★★ 2

léa seydoux is a force to be reckoned with what an absolute powerhouse

Review by Patrick Preziosi ★★★★½ 3

Neo-neorealism, because what is modern realism if not outwardly acknowledging the process that allows it to claim such a distinction? Like the photo-negative of Rossellini’s Europa ’51 , a paragon of status and celebrity only achieves more , following a fairly quotidian accident that leaves Léa Seydoux internally shaken nevertheless. The ubiquitous desire to manufacture and package “the real” drives this entire film, each marvelous smash/match-cut a continued compounding of facilitated distances within spaces that only continue to encroach upon one another: war zones and resorts, the newsroom and the field, the camera and “the camera”.

Review by k. 5

Who names their kid france

Review by Sarah ★★½ 4

Intended as a satire of journalism, this was just a worse Arthur Rambo for guys with a femdom fantasy about Lea Seydoux. At it's best it is a lot™ of movie, flashy maximalism and star power, at its worst a whinging shakey romance. Emmanuel Macron at his best performance yet

Review by David Conner ★ 15

Since this is my first exposure to Bruno Dumont, I’ll reserve the right to revise my opinion of him at a later date, but for now, my judgment is this: he’s either a moron or a troll.

The Case for Moron: A satire of broadcast media and its effects on society? In the 2020s!? Are you kidding me right now? Since this sort of thing has already been done so much more effectively by so many other more timely films — which I won’t even bother to start listing here since it could easily run into the dozens — a reasonable assumption is that he’s either hopelessly out of touch with all of culture and cinema, past and present, or…

Review by nick ★★★½

"Are you left wing or right wing?"

Like Bruno Dumont's previous works, France simply won't give you the satisfaction, and even the good old shock values are nowhere to be found. Luckily Dumont's recruitment of Léa Seydoux with arguably her career-best performance saves this sinking ship and renders it tolerable at worst.

Clearly a satirical take on the hypocrisy of the media world, France starts with a faux-cameo from French President Macron and sets the tone for further fuckery down the road. France de Meurs, the titular character and TV sensation, is the central figure of this eventful modern fable. Successful yet deeply insecure and depressed, France excels at, while at the same time repelled by, the rules of the…

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France (2021) Movie Explained: Ending & Themes Analysed

On the occasion of its release on MUBI, I would like to talk about the film in detail and try to analyze its main themes in this article. So, be aware as it is going to be filled with spoilers .

France (2021) Plot Summary & Movie Synopsis

The film talks about a charming celebrity reporter and TV presenter, France de Meurs. She is quite influential in her job, and people adore and worship her like some demigod.

One day, while going to work, France inadvertently hits a young delivery boy in the streets of Paris, leaving him with a dislocated knee. Quite upset about this incident, France tries to help the boy and his family (North African immigrants). The boy’s family is a big fan of France’s work and initially becomes hesitant to take help from her. But eventually, they take help from her and become very much moved by this gesture from France.

To recover herself, she goes to an Alpine retreat. There she meets with an enigmatic handsome young man named Charles Castro. He charms France and gives her comfort and love, which she widely misses in her marriage with Fred.

After some time, she returns to her former position on TV and starts reporting the war zones. While making one such report, she encounters a bunch of refugees trying to cross the Mediterranean Sea in a boat. She sticks with them and gathers a lucrative amount of footage of their sea voyage, projecting herself traveling with them throughout the journey despite having their own big boat around them all the time.

This becomes a hot topic in the media, with everyone criticizing France for this behavior. While this is going on in Paris, Fred and Jojo are spending their vacation somewhere in the mountains. There they meet with a fatal card accident that kills them both.

France seems quite devasted by this incident, yet she is quite focused on her work. One day she goes to interview the wife of a serial rapist and murderer. There again, she uses the same technique of manipulation, which we see earlier in the film when she is reporting the war. She completes the interview and comes back home.

France (2021) Movie Themes Analysed:

The photo culture.

France is a film that extensively shows us our fascination and obsession with photos. In this age of social media, everything for us is mere content. Even if that be the interaction with a celebrity, that interaction can be a human act, but in the modern age, this is degraded to mere content.

The Media Spectacle

The film constantly shows how media is manipulating the facts and creates a kind of hyperreality. France’s attempt to capture the war with much-planned construction of events (from her speech to possible camera angles) showcases how the media can create spectacles out of the ordinary.

Emotional Alienation and Mental Health

For the most part of the film, it is about the existential crisis of France. As I mentioned earlier, in the media business, you need to project yourself constantly. Being a celebrity journalist, France is constantly projecting herself. As a result, she creates a shell around her; hiding her true persona. But when she first encounters the accident with Baptiste, the delivery boy, the shell starts to crackle.

France (2021) Movie Ending Explained:

What will be the future of france.

In the film’s final sequence, we see that Charles comes to France’s apartment while France is preparing for her upcoming show. Charles asks for forgiveness for his acts. She responds that she has faced many sorrows after his betrayal. So, his betrayal is just a trivial thing among the real monsters; in addition, she states that her job is killing it, and she doesn’t want this celebrity fame. But she makes peace with it and understands it is not her real self (the celebrity self). Metaphorically, she puts this as living in the present and not postponing it.

What is the significance of bicycle thrashing in the end?

The film’s ending finds France and Charles coming out of the apartment. We see a man angrily thrashing a bicycle parked near the footpath. Seeing that France and Charles become quite bewildered. After the man leaves the scene, France places her head on Charles’s shoulder, and the camera zooms into her face, which slowly turns into a wide smile.

In my opinion, this entire scene signifies France’s broken outer celebrity persona. Like the bicycle is thrashed, France’s exterior shell of being just a showpiece for the public is entirely broken, and she learns to accept her true self. So, in the end, she places her head on Charles’ shoulder – committing a human act after all the fabrication of facts throughout her journalism career.

France (2021) Movie Links – IMDb , Rotten Tomatoes France (2021) Movie Cast – Léa Seydoux, Blanche Gardin, Benjamin Biolay

Where to watch france, trending right now.

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Reviews by someone who's seen the movie

The film France is a lot of things but let’s start with what it’s not. The IMDb says “comedy drama” – but there’s not even a smile to be had out of writer/director Bruno Dumont’s latest. Other suggestions out there include that it’s a satire on the news profession. This is hard to credit even as an idea, unless you’re entirely unaware of the way TV news reports are put together. Assembling “packages” from various takes, cutaways, drop-ins, and so on is not the same as “fake” news, which sets out to deceive rather than enlighten. The other strange notion doing the rounds is that France is a state-of-the-French-nation drama. Blame the title for that one.

Léa Seydoux is the star and almost the entire focus of this strange film about hugely successful TV journalist France de Meurs – one part newsgathering machine, one part glamourpuss, one part rock star – who has a crisis of conscience after knocking a guy off his scooter while driving to work. After slaloming about mentally for a while, she eventually quits her job and goes off to have a full-blown breakdown in a polite alpine sanatorium, where she meets a guy and starts an affair with him.

Love blossoms, recovery beckons, she returns triumphant to her job, the end? Not so fast. Dumont has other fish to fry, first giving us exactly the story we’re expecting and then pulling the rug out from under expectations, only to then pull it out again with some late-story spectacular death and disaster – if you’re looking for a fabulously staged car crash on a rocky mountain road, France has it for you.

France cries a hell of a lot in this film, on the TV screen and off it, and Seydoux gets to act on several levels – brittle TV star on top and damaged human below. She is perfectly cast and gets to flex acting muscles unflexed in many a movie where she’s just required to look good. She’s abetted by Blanche Gardin as France’s super-competent but slightly fly assistant – there’s warm, lovely and entirely plausible interaction between the two of them.

The Covid pandemic caused first a bottleneck and then a logjam in the already stop/go world of movie production. Which explains to an extent why if you look up Seydoux on the IMDb, you’ll find this this is one of six movies she appeared in during 2021/22.

Which is quite a tally, though it’s worth remembering that France was started in 2019, before the coronavirus interfered with schedules. Even so, Seydoux is working at a prodigious rate of late and most of her recent movies have been big hitters. Arnaud Desplechin’s Deception , a two hander. The monster production schedule of a Bond movie, No Time to Die . Mia Hansen-Løve’s One Fine Morning , in which Seydoux was again the lead, and David Cronenberg’s Crimes of the Future , another demanding role alongside Kristen Stewart and Viggo Mortensen.

She’s as intense here as she was in any of those but here the intensity is the point, to an extent. Dumont’s films – most explicitly in Joan of Arc , Outside Satan , Hadewijch – focus on obsession, idolatory, zealotry, faith, dedication and madness and how any one of these extreme states of engagement can easily shade into any one of the other.

Hence the other key character, Charles Castro (Emanuele Arioli), a fellow recoveree she meets at the sanatorium who has never heard of this superstar TV journo as famous for her warzone reporting as for her chairing of intellectual discussion, and who falls for her in ways that don’t seem entirely healthy.

Love, tears, passion, dedication, breakdown, for all the emotion suggested by the material, Dumont’s movie is a strangely underpowered beast, perhaps best admired for its sharp performances and its superficialities – France’s wardrobe! The décor of her house! Search for the comedy in vain.

France – Watch it/buy it at Amazon I am an Amazon affiliate

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Director Bruno Dumont’s satire is sharp and funny but fails to examine itself for the very biases it wants to challenge.

In medieval morality plays, the dramatis personae always includes the likes of Charity, Death, and Temperance, named for the vices or virtues they embody. These characters are vessels, existing somewhere between allegory and literalism and imbued with the social values and anxieties of their time. French surrealist Bruno Dumont ( Lil Quinquin , Slack Bay ) drags this tradition into the twenty-first century with his latest film, France .

France de Meurs ( Léa Seydoux ) is France-the-nation’s premier journalist. Renowned across the country for her bold yet compassionate perspective, she is the people’s darling, the one they put their trust in. Between the edits though, France is more interested in provocation and making good TV than she is in getting answers or justice. But when a freak accident causes a small crack in her artifice, it sets the stage for her total collapse.

The allegory clicks immediately. The self-conscious filming of France producing her segments brilliantly satirizes the facade fabricated by the media to tell sensational stories. France watches France interview French-backed insurgents fighting ISIS, gather B-roll footage, and splice together a story that is more about France (both the nation and the journalist) than it’s about the fighters on the ground.

By the time the final product is aired in the studio, the picture has made clear how each layer of France’s performance is constructed on top of each other, creating the tangible sense of ironic distrust Dumont is seeking.

This succeeds primarily thanks to the compelling work of Léa Seydoux. As a character and a nation, France continually boils over with emotion. Thus, Seydoux churns France’s emotions beneath the surface. She’s cheeky with best friend/assistant Lou (Blanche Gardin) one moment, asks tough questions of President Macron the next, and hops back to jokes which are followed immediately by a disaffected fugue state.

Through calculated holds, glances, and gestures, Seydoux showcases the architecture of France’s interior life.

Seydoux’s work is consummately professional. She understands how to play the difficult deadpan humor Dumont is known for. Indeed, her banter with Lou makes for some of the most delicious moments in the movie. But it’s when France starts to fall apart that Seydoux’s mastery of her craft and this role become truly apparent. As France de Meurs becomes tangled in her web of performance, Seydoux makes her polished veneer slip right before the audience’s eyes.

France’s eyes well—but are her tears real or fake? Does she even know? Seydoux digs into France’s trying to work that out. Through calculated holds, glances, and gestures, Seydoux showcases the architecture of France’s interior life. This doesn’t just make for a formidable foundation for her character, it’s a tool she uses to showcase new layers peeling off of France as the film progresses.

Seydoux’s work is particularly impressive given that for all his brilliant aim and concepts, Dumont casts his line out a bit too far between each recoil. While some tension needs to be let out so that emotions can snap back, Dumont frequently leaves the audience drifting to the point that the picture’s thread gets lost.

Dumont’s conception of French media hypocrisy is strong. But he’s doing iterative rather than groundbreaking work, so the massive number of examples Dumont provides of that hypocrisy ultimately prove counterproductive. Oui, France is disaffected. Oui, she constructs messages and ideologies hypocritical. Et alors?

Furthermore, the moves France -the-moviemakes to prove a greater point about France’s political duplicity come at the expense of the racial others portrayed in the film. Dumont may have set out to say something about France’s colonial and faux-benevolent treatment of Arabic people and political refugees, but in practice, the colonizer is the only one who speaks and retains the focus.

Calling attention to racially constructed narratives does little when the objects of those narratives remain obscured and silenced. France ultimately repeats the same sour colonial narrative it seeks to critique—leaving the racial others in its cast objects of spectacle whose only function is to reaffirm White humanity.

France is a lot to take in. It boasts a brilliant concept, a cataclysmic ending, Alexandra Charles’ impeccable wardrobe stylings, and Seydoux’s exquisite performance. But, examining the narrative being assembled—just as France asks viewers to do when engaging with national media—makes its own gaps and failings become clear. France fails to successfully overturn its own prejudices despite the enlightened ideals it aspires to, much like the nation it holds under a lens.

France arrives in theaters on December 10, 2021.

France Trailer:

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Who nowadays makes plush-looking feature films in black-and-white? Well, Noah Baumbach does, and if you consider that his “Frances Ha” lavishes its gorgeous monochromes on contemporary New York and the luminous countenance of Greta Gerwig (his star, current g.f. and co-writer), you might suspect that Baumbach’s latest owes more than a tiny debt to Woody Allen’s “ Manhattan .” If you also factor in that the film is full of nods to the French New Wave, including an obnoxious overuse of classic scores by Georges Delerue , you might deduce that Baumbach’s reverential hyper-cinephilia has gotten the better of him again. And you would be right. But only to a point.

The truth is, the brittle self-consciousness (half boastful, half embarrassed) signified by his cinematic name-dropping has always been Baumbach’s artistic Achilles heel — his previous films include “Kicking and Screaming,” “ The Squid and the Whale ” and “ Margot at the Wedding ” — but thankfully it doesn’t completely undo “Frances Ha.” His collaboration with Gerwig has a freshness that may or not owe something to first-blush romance but that renders this bittersweet comedy occasionally inspired, frequently charming and always watchable.

The film’s shambling story is rooted in a particular passage of life. Frances (Gerwig) at age 27 finds herself in that Janus-like, post-college phase where part of her seems to want to retreat to the womb, or at least Vassar, while another part wants to forge confidently into the realities of grown-up life in New York. For the moment, she’s stuck between the poles, going round and round. As the film opens, she’s trying not very successfully to get some career traction in a dance company, while her closest relationship is with her roommate and best friend Sofie ( Mickey Sumner ). The two young women act like teenagers, playing all sorts of silly games and saying “I love you” to each other more frequently than people who actually are in love do.

This is the kind of giddy, reality-escaping youthful friendship that seems eternal until (as inevitably happens) one party decides to loosen the ties in order to move on. When Sofie does just that, moving out in order to share a coveted Tribeca apartment with another friend, Frances is left unmoored. For a while she moves in with Lev ( Adam Driver ) and Benji ( Michael Zegen ), dry-witted Brooklyn hipsters whose lives seem to consist mainly of wisecracks, beer and hookups. For a few moments it seems like there might be a spark between Frances and Benji, an aspiring " SNL " writer, but that passes and he soon dubs her, in a bit of teasing irony, “undateable.”

In observing these characters’ whimsically wayward lives, their indecision over work and frequent skipping between living situations (their apartments range across Manhattan and Brooklyn), Baumbach captures the current young-NYC-boho milieu with an exactitude that’s almost anthropological and a lyricism that’s both droll and engaging. (As he no doubt could tell you, the combination recalls Godard’s “Masculine/Feminine.”) The pleasing effect here is owed not only to the flavorful, understated precision of the film’s writing and direction, including the poised restraint of Sam Levy ’s exemplary b&w lensing, but also to the exceptional work of supporting players Sumner, Driver and Zegen, who all qualify as up-and-coming actors to watch.

It’s partly due to these assets that the film’s first half proves notably stronger than the second. Once Lev and Benji are left behind, and Sofie moves to Japan with her Goldman Sachs sweetie, Frances simply drifts. She goes to Sacramento to visit the folks for Christmas. She trips off to Paris for the weekend, but misses the friend she went to see. She returns to Vassar where she pours wine for visiting bigwigs, a dancer reduced to the status of unpaid servant. As with the film’s earlier segments, these scenes are ably staged and benefit from Gerwig’s smart, appealing performance, but they add nothing either to the story or the character. When Frances is doing nothing but drifting aimlessly, it’s hard to escape the feeling that the film is doing the same — right up to its contrived and hard-to-credit penultimate scene, where the desultory suddenly becomes upbeat.

Ultimately it’s tempting to file “Frances Ha” under “pretty good, but could be a lot better if it tried.” In that sense, it provides an unfortunate correlative for the continuing career trajectory of Baumbach, a perennial underachiever. By any reckoning he owes a lot to privilege: the right upbringing in the right place with the right parents (a cinephile professor and a film critic), the right schools, right connections and right friends, even the right producer ( Scott Rudin ). Having all of these advantages, however, has not stimulated in him any noticeable drive to demonstrate that his talent surmounts them. Rather, it has left him able to make watchable films, but not challenged to make great ones.

It’s perhaps noteworthy that the archetypal Baumbach protagonist seems to be trying to escape a state of arrested development, one that hints rather unsubtly at autobiographical roots. “The Squid and the Whale,” his most acclaimed and successful film, rehearsed the trauma of his parents’ divorce. His last feature, “ Greenberg ,” is my favorite of his films, in part because it suggests the start of a way out both tantalizing stasis and the threat of regression. Its main character (memorably played by Ben Stiller ) is a failed rock musician who’s been getting nowhere for too long and moves to L.A. in search of a new beginning. However awkwardly, he finds just that. We can only wish the same for Noah Baumbach: a path into a form of filmmaking that is truly his own, rather than being bound by the tastes and limitations of his parents’ cinematic heroes.

Godfrey Cheshire

Godfrey Cheshire is a film critic, journalist and filmmaker based in New York City. He has written for The New York Times, Variety, Film Comment, The Village Voice, Interview, Cineaste and other publications.

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Film credits.

Frances Ha (2013)

Mickey Sumner as Sophie

Michael Zegen as Benji

Adam Driver as Lev

Greta Gerwig as Frances

Noah Baumbach
Greta Gerwig

Cinematography

Scott Rudin

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22 Best Movies Set In France That Will Transport You There

Looking for the best movies set in France to add to your watch list? From drama, and romance, to comedy, this list has all the best movies filmed in France.

France is one of the most beautiful countries in the world. From its beautiful cities , and cute villages, to captivating landscapes, and not forgetting its charming capital, Paris, it’s no surprise that France has been a set for many movies.

However, if a holiday to France to see the magnificent sights in person isn’t on your calendar in the upcoming weeks, don’t worry. I’ve put together a list of the 22 best movies set in France that will transport you there.

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From drama, romance, and adventure, to thrillers, these movies not only show the streets of Paris but also other communes in France.

Whether you’re a Francophile who just loves everything French or you want a glimpse into the country before you visit, these movies based in France will mesmerize you.

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Best Movies Set in France

Watching movies filmed in France is a great way to get a glimpse of the country if you haven’t visited or even heal your nostalgia.

So, without further ado, here are some of the best movies set in France that have received numerous accolades and critical acclaim.

1. Les Intouchables/The Intouchables (2011)

Genre: Biography/Drama/Comedy

IMDB: 8.5/10

Rotten Tomatoes: 75%

Les Intouchables is a heartwarming tale with comedic moments inspired by a true story about an unexpected friendship that blossoms between a quadriplegic and his caregiver.

Philippe (François Cluzet) is a wealthy man left paralyzed after a paragliding accident who hires Driss (Omar Sy) as his caretaker.

Much as Driss’s initial plan was just to get a stamp to show that he was denied the job so that he can continue getting unemployment benefits, he ended up getting the job.

Although Philippe soon realizes that Driss is an ex-con, he chooses not to fire him as he is the only person that treats him normally without any pity.

Despite the fact that most of the film comprises indoor scenes, you get to see sights around France during Philippe and Driss’ adventures, including paragliding in the French Alps.

The film was so successful that it won a BAFTA award for Best Foreign Language Film, while Omar Sy won a César Award for Best Actor, after all, he is one of the best French actors . Up until 2014, it was the most-watched French film in the world.

2. Amélie (2001)

Genre: Romance/Drama

IMDB: 8.3/10

Rotten Tomatoes: 89%

Amélie , played by Audrey Tautou, a famous French actress explores 50+ sights across Paris in this feel-good rom-com, making it one of the best movies filmed in France, especially in the Parisian neighborhood of Montmartre.

Amélie battles with loneliness herself but makes it her life goal to make others happy. You’ll often find her improving the moods and lives of others from afar without wanting any recognition.

A true and selfless tale, Amélie will tug at your heartstrings and have you rooting for the titular character to find her happiness.

Besides its beautiful soundtrack and compelling story, Amélie will take you on a journey through Paris, especially in Montmartre .

Some of the filming locations you can easily recognize when you visit Paris include, Amélie’s work Place, Cafe des Deux Moulins which is still a functioning cafe in Paris , Rue Lepic, Abbesses Station, Gare de l’Est, and more.

The movie won 4 César Awards, including Best Film and Best Director, and 2 BAFTA Awards.

Apart from this, it received several other nominations, including at the Academy Awards. It’s also one of the best French movies recognized on the international scene.

With all these accolades in its pocket, it doesn’t come as a surprise that Amélie is one of the best movies set in France.

3. Ratatouille (2007)

Genre: Animated/Adventure/Comedy

IMDB: 8.1/10

Rotten Tomatoes: 96%

Ratatouille is one of the best-animated movies based in France. It is one of the most impressive movies by Pixar’s studios and tells the story of Remy, a rat whose love for cooking takes him to Gusteau’s restaurant in Paris.

Remy’s (voice of Patton Oswalt) dream of becoming a renowned French chef comes to fruition with the help of Linguini (voice of Lou Romano), a kitchen worker who wants to keep his job.

The film pays a lot of attention to detail with regard to French food , especially Ratatouille, a traditional French meal that Remy and his counterpart try to perfect to impress critics.

Ratatouille has won an Academy Award, a BAFTA, and a Golden Globe for Best Animated Feature.

4. Before Sunset (2004)

Rotten Tomatoes: 94%

Before Sunset is the 2 nd installment in the Before trilogy, succeeding Before Sunrise and preceding Before Midnight . This film should not be missed if you want to watch some romantic movies set in France.

It has Jesse, played by Ethan Hawke, and Céline, played by Julie Delpy, as its lead pair. Jesse and Céline’s love story picks up in Paris, nine years after their romantic rendezvous in Venice.

Because of their catch-up session, we get a walking tour of the City of Love and its arrondissements.

The movie garnered accolades for Richard Linklater’s direction and Ethan and Julie’s chemistry, including an Oscar nomination for the writing (adapted screenplay).

5. La Haine/Hate (1995)

Genre: Crime/Drama

Rotten Tomatoes: 95%

La Haine follows a story of three men — Vinz, a Jewish man played by Vincent Cassel, Saïd, an Arab man played by Saïd Taghmaoui, and Hubert, a Black man played by Hubert Koundé who have grown up in the same French suburban ghetto.

Unlike other movies set in France that romanticize Paris and its neighborhoods, this one focuses on the daily struggles and racial profiling immigrants face in a poor immigrant-heavy neighborhood near Paris.

The film shows Police oppression and tensions in the community that leads to a series of unfortunate events that unfold in 24 hours.

La Haine was nominated for a Palme d’Or, while its director Mathieu Kassovitz won the Best Director Award at the 1995 Cannes Film Festival. It also won 3 César Awards and a Lumières Award for Best Film.

6. Portrait of a Lady on Fire (2019)

Rotten Tomatoes: 97%

Portrayed in Brittany in Northern France, on an island called Saint-Pierre-Quiberon, Portrait of a Lady on Fire is one of the most impactful romantic movies set in France.

Marianne, a painter, has been commissioned to paint a wedding portrait of Héloïse, unbeknownst to her.

Marianne observes her muse during the day as her hired companion and paints at night. When she finishes the painting, she feels as though she is betraying her to give away her painting without her knowledge.

Fast forward, not to spoil the entire movie for you, the two fall in love and Héloïse agrees to pose for Marianne to be painted.

Besides this endearing love story, the movie also shows beautiful scenes on the island, and the landscape will transport you to the French countryside.

7. Midnight in Paris (2011)

Genre: Fantasy/Romance/Comedy

IMDB: 7.7/10

Rotten Tomatoes: 93%

Midnight in Paris tells the tale of a writer who goes back in time every night at midnight to 1920s Paris and experiences life in that era.

It stars Owen Wilson in the titular role of Gil, the writer, accompanied by a star-studded supporting cast comprising Rachel McAdams, Kurt Fuller, Michael Sheen, Kathy Bates, Marion Cotillard, Léa Seydoux, Adrien Brody, Carla Bruni, and wait for it, Tom Hiddleston as F. Scott Fitzgerald.

Various other luminaries are characters in the movie, like Ernest Hemingway, Joséphine Baker, and Pablo Picasso.

The movie got critical acclaim and Woody Allen won an Oscar and a Golden Globe for Best Writing (Original Screenplay), while the movie got nominated for Best Film.

8. La Vie en Rose (2007)

Genre: Biography/Musical/Drama

IMDB: 7.6/10

Rotten Tomatoes: 74%

La Vie en Rose is the name of an iconic French song sung by famous French singer , Édith Piaf that catapulted her to being recognized as the national chanteuse of France.

The song’s popularity reached such heights that this biographical musical film was made based on her life played brilliantly by Marion Cotillard.

The movie takes us on a journey through Piaf’s life right from her messy childhood in Normandy, when she started singing at a club in Paris, to when she became a national emblem as a singer until her death bed.

Not only was Marion’s performance lauded, but she also won an Academy Award, a BAFTA, a Golden Globe, a César Award, and a Lumières Award for Best Actress.

The film also won several awards, including an Academy Award, 3 BAFTA awards, and 4 César Awards, apart from being nominated for several others.

9. Pierrot le Fou (1965)

Genre: Crime/Romance/Drama

IMDB: 7.5/10

Rotten Tomatoes: 87%

Pierrot le Fou is based on a 1962 novel, Obsession by Lionel White. Ferdinand, played by Jean-Paul Belmondo, flees Paris with his ex-girlfriend Marianne, played by Anna Karina, leaving behind his wife and children, citing an unhappy marriage.

A series of mishaps ensues with the runaway couple hijacking a dead man’s car to get away from the gangsters that were following her.

They live a life on the run from thereon. The ending will answer the reasoning behind the title.

Out of all the movies set in the south of France, this one stands out as it showcases stunning scenes of Toulon and the French Riviera amidst the chaotic life of the 2 main characters.

10. Les Misérables (2012)

Genre: Musical/Romance/Drama

Rotten Tomatoes: 70%

Les Misérables , a musical period film set in Montfermeil and based on Victor Hugo’s novel of the same name, is a classic and one of the best movies about France. The original story is so famous that many adaptations have been made since then.

Hugh Jackman brilliantly plays the titular character of Jean Valjean, a French peasant pursuing a life of redemption.

The ensemble cast of Russell Crowe, Anne Hathaway, Amanda Seyfried, and Sacha Baron Cohen are all incredible as well.

The movie won multiple Academy, BAFTA, and Golden Globe Awards, on top of several Academy Award nominations, including Best Picture.

11. Hugo (2011)

Genre: Adventure/Drama

Hugo eponymously titled, based on The Invention of Hugo Cabret book shows the life of a 12-year-old orphan (Asa Butterfield)) who lives at Gare Montparnasse, a train station in Paris.

The story follows his life as an orphan and how he navigates his new life and the challenges presented to him including theft and a new job that follows in his father’s footsteps as a clock maintainer.

Just like many of his other films, a movie directed by Martin Scorsese is bound to win a number of accolades.

For its visually stunning scenes and enthralling sounds, the movie won 5 Oscars and 2 BAFTA awards, on top of Martin grabbing a Golden Globe. It also received nominations in several other categories, including Best Film.

12. Beats Per Minute/120 BPM (120 battements par minute) (2017)

Genre: Drama

IMDB: 7.4/10

Rotten Tomatoes: 99%

Unlike other movies that take place in France, this moving drama is a film with a cause. Beats Per Minute is one of the best movies filmed in France about people with HIV AIDS living in Paris.

This thought-provoking movie has HIV AIDS youngsters fighting for something they believe in — to combat the deadly life-threatening immunodeficiency disease.

The film showcases members of the ACT UP Paris activist group trying to raise awareness and demand subsequent action from people in power.

With its moving story, it won six César and Lumières Awards, including Best Film, and a Grand Prix at the 2017 Cannes Film Festival.

13. Chocolat (2000)

IMDB: 7.3/10

Rotten Tomatoes: 62%

Out of the movies based in France, this feel-good heart-warmer has Juliette Binoche playing a single mother who moves to a French village in Burgundy with her 6-year-old daughter and opens a chocolaterie.

At first, the villagers are skeptical due to her different way of life — non-married, non-religious, and always dressed in colorful clothes compared to the local women, but eventually, they warm up to her.

The film shows how the mother-daughter duo settles in their new life and make friends, but not with a chilling drama.

Alongside cast members like Johnny Depp and Judi Dench, Juliette Binoche shows off her incredible talent in this film.

Chocolat got nominated for Best Film, Best Actress for Juliette Binoche, and Best Supporting Actress for Judi Dench at the 2001 Academy Awards.

It also received nominations across various categories for the BAFTA and Golden Globe Awards, but unfortunately did not win any of them.

14. The Hundred-Foot Journey (2014)

Genre: Comedy/Drama

Rotten Tomatoes: 68%

The Hundred-Foot Journey is an adaptation of a 2010 eponymous novel by Richard Morais of the same name.

The movie is set in the picturesque medieval town of Saint-Antonin-Noble-Val, located in the South of France.

It tells the tale of two competing restaurants across the street from each other — a Michelin-starred French restaurant and a family-owned Indian bistro.

Helen Mirren (Madame Mallory) owns Le Saule Pleureur, the upscale restaurant, while the other, called Maison Mumbai, is run by a Muslim family from Mumbai headed by Om Puri (Abbu Kadam).

How far will the rivalry go between these 2 restaurants? You have to watch it to find out!

And in case you’re wondering, the film’s name indicates the distance between the two restaurants which is 100 feet.

15. An American in Paris (1951)

IMDB: 7.2/10

An American in Paris is one of the best musical movies that take place in France. It stars Gene Kelly and debutante Leslie Caron.

Gene’s character is an artist (painter) named Jerry, while Leslie’s character, who plays his love interest as Lise, is already with someone else.

The movie is a mismatch of a musical and a tangled love story that sees Jerry falling for the girlfriend of his close friend, Lise, and him (Jerry) being admired by a wealthy woman who shows interest in both his art and him personally. Who will end up with who? I’ll let you find that out yourself.

The movie was nominated for 8 Academy Awards and won 6, including Best Picture. Aside from this, Gene Kelly won an Honorary Academy Award for the 17-minute-long choreography of the climactic ballet sequence.

16. Paris, Je T’aime (2006)

Genre: Romance/Drama/Comedy

Rotten Tomatoes: 86%

One of the best movies about France is Paris, Je T’aime , an anthology film that takes you through almost all the neighborhoods of Paris .

It comprises 18 short stories (initially supposed to be 20) representing 18 arrondissements of the City of Love with an ensemble cast starring Juliette Binoche, Natalie Portman, Willem Dafoe, Gaspard Ulliel, Miranda Richardson, Maggie Gyllenhaal, Aïssa Maïga, Elijah Wood, Olga Kurylenko, and Emily Mortimer, among others.

Apart from this, Gérard Depardieu not only directed one of the shorts but also acted in it.

The film was a nominee at the Cannes Film Festival of 2006 in the Un Certain Regard category.

17. La Piscine/The Swimming Pool (1969)

IMDB: 7.1/10

Filmed in the beautiful locales of Côte d’Azur in a villa perched atop a hill with mesmerizing views of the Mediterranean Sea, La Piscine is one of the most captivating movies set in the south of France.

It stars Alain Delon as Jean-Paul, Romy Schneider as Marianne and Jane Birkin as Pénélope.

The plot starts with Jean-Paul, a writer, and his girlfriend, Marianne, going on a vacation in the summer to their friend’s villa.

They’re later joined by Marianne’s ex-boyfriend, Harry, and his daughter, Pénélope, and what follows is a story of passion, jealousy, s*xual tensions, and even murder.

The movie was well-received and stood out for its daring and gripping tale.

18. Summer Hours (2008)

In Summer Hours , a family gathers for the matriarch’s 75 th birthday and news of her failing health.

The family home is a lovely estate with a vineyard on the outskirts of Paris, where her three children — two brothers and their sister, spent their childhoods.

They reminisce the good times shared while growing up and now have to decide how to relinquish family belongings, along with several precious items and priceless artifacts.

After her death, the 3 children don’t agree on what to do with their newly inherited estate. How will they handle this situation? You’ll have to watch the full drama as it unfolds.

The critically acclaimed film starring Juliette Binoche, Charles Berling, Jérémie Renier, and Edith Scob received numerous nominations at various Film Festivals.

19. Funny Face (1957)

Genre: Musical/Romance

Rotten Tomatoes: 88%

Starring legendary actress Audrey Hepburn and American actor-dancer Fred Astaire, Funny Face is one of the best musical romantic movies set in France with songs by the Gershwin brothers.

It tells the story of Maggie Prescott a fashion magazine editor that wants to launch a fresh face as the next top model, Dick Avery (Fred), a fashion photographer of the magazine, and Jo (Audrey), a shy bookshop assistant who becomes his muse.

Initially uninterested, Jo subsequently agrees because Dick agrees to help her realize her dream of seeing Paris and attend a philosophy lecture by a professor she idolizes.

During their time in Paris shooting at the city’s famous landmarks , Jo and Dick fall in love.

The movie received multiple Academy Award nominations and a Palme d’Or nomination at the 1957 Cannes Film Festival.

20. Hunchback of Notre Dame (1996)

Genre: Animated Musical/Drama

Rotten Tomatoes: 72%

For a movie released in the late 20 th century, The Hunchback of Notre Dame might be one of the best Disney animated movies based in France of that time.

It might not have gotten the recognition it deserves because of the underlying dark theme, but the portrayal of medieval France will give you quite the authentic experience, albeit on film.

You get to see many sights around the country in a period-accurate setting that you can visit on your next trip (except the actual inside of Notre Dame since it caught fire and is undergoing restoration).

21. Taxi (1998)

Genre: Action/Crime/Comedy

IMDB: 6.9/10

Rotten Tomatoes: 81%

Taxi is a French action-comedy starring Samy Naceri, Frédéric Diefenthal, and Marion Cotillard about a taxi driver (Samy) who agrees to drive around a police inspector (Frédéric) to be able to get back his driving license the policeman had taken from him due to a traffic law he had broken.

The police inspector, Émilien, is not taken seriously at work, so he wants to solve a high-profile robbery case involving a German gang with the help of the taxi driver, Daniel Morales.

All this plays out in the picturesque streets of Marseilles in the south of France.

The movie won 2 César Awards on top of receiving nominations for Best Film, Best Director, Best Music, and Most Promising Actor and Actress.

22. The Da Vinci Code (2006)

Genre: Mystery/Thriller

IMDB: 6.6/10

Rotten Tomatoes: 57%

The Da Vinci Code , starring Tom Hanks and Audrey Tatou as Robert Langdon and Sophie Neveu, respectively, is one of those movies that take place in France that gives you a comprehensive tour of the country like no other movie does.

Imagine getting an inside tour of The Louvre, for example. As a result, you get to explore Paris and some of its lesser-known sites.

The film shows Robert Langdon, a professor from Harvard university being pinned as the prime suspect in the murder of Louvre curator, Jacques Saunière.

What follows is the search for the Holy Grail which is believed to be in one of Leonardo da Vinci’s paintings.

The movie faces a lot of criticism, especially from the catholic church for its controversial display of biblical events that contradict what religion teaches.

If you’re searching for movies set in France on Netflix that have controversial theories, The Da Vinci Code is one not to miss.

Final Thoughts on the Best Movies Filmed in France

With a number of movies set in France, it can be hard to select a few, but I hope that my personal selection helps you cure your nostalgia or even inspire you to visit France soon.

From these 22 movies made in France, did any particular one(s) catch your attention? Have you watched any of them before? Let me know your thoughts in the comments below.

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Bienvenue dans le monde fabuleux du cinéma français, french films to rediscover, cinema classics worth revisiting, a little light reading, best french films by genre, best french films by decade, best films by director.

Julien Duvivier;
Marcel Pagnol
Raymond Bernard
Alain Resnais
Georges Franju
Sacha Guitry
Bertrand Blier
Carl Dreyer
Ingmar Bergman
Yasujiro Ozu
Alfred Hitchcock
Other directors...

French Film Pioneers

Georges Méliès
Albert Capellani
Louis Feuillade
Léonce Perret
Jean Epstein
Marcel L'Herbier

Directors of the French New Wave

Claude Chabrol
Jacques Rivette
Jean Eustache
Agnès Varda
Jacques Demy
Louis Malle

Best films by actor

Jean Marais
Louis de Funès
Lino Ventura
Gérard Philipe
Philippe Noiret
Gérard Depardieu
Other actors...

Best films by actress

Danielle Darrieux
Romy Schneider
Anouk Aimée
Isabelle Huppert
Other actresses...

World cinema classics

Directors index
Actors index
Best of the silent era
The occupation era
Continental films
The New Wave

Other things to look at

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The New York Times News Quiz, July 12, 2024

Did you follow the news this week? Take our quiz to see how well you stack up with other Times readers.

Which Hollywood star and major Democratic fund-raiser wrote an essay this week in The Times calling on President Biden to drop out of the race?

George Clooney

Julia Roberts

Don Cheadle

At the NATO summit in Washington, members of the alliance accused which country of shipping weapons components to aid Russia in its war against Ukraine?

Saudi Arabia

South Africa

The French elections ended with a surprise surge from the left wing, leaving no one party with a majority in Parliament. Who is leading the left-wing coalition?

Jordan Bardella

Olivier Faure

Marine Le Pen

Emmanuel Macron

Jean-Luc Mélenchon

On Monday, a Russian missile strike destroyed the largest facility of what kind in Ukraine?

Children’s hospital

Nuclear plant

Train station

Water treatment plant

Millions of people in what U.S. city lost power this week after Hurricane Beryl thrashed the area?

Austin, Texas

Charleston, S.C.

New Orleans

Boeing pleaded guilty to a felony charge of conspiring to defraud the federal government over two fatal crashes in 2018 and 2019. Which model of plane was involved in both crashes?

377 Stratocruiser

737 Next Generation

787 Dreamliner

The Las Vegas Valley broke heat records this week when it reached what temperature for five days straight?

100 degrees

115 degrees

125 degrees

Which two soccer teams are finalists in the Euro 2024 championship?

The Netherlands

Leotards designed for Team U.S.A.’s gymnasts at the Paris Olympics will have more than 10,000 of what sewn into the fabric?

Accelerometers

American flags

The actress Shelley Duvall died this week at 75. Among her best-known roles was Wendy Torrance, the heroine in which acclaimed horror film?

“The Exorcist”

“Halloween”

“The Shining”

A new film based on a 1990s blockbuster is coming to theaters next week. What is the name of the movie?

“20 Things I Hate About You”

“Crueler Intentions”

“Pretty Women”

“The Truman Show 2”

7 new movies and TV shows to stream on Netflix, Prime Video, Max, and more this weekend (July 12)

Catch Vikings: Valhalla, The Serpent Queen, Sunny, and more

A woman stands tied up to a wooden post with flames behind her

Historical dramas are taking center stage this weekend. If you like Norse mythology from the Viking Age and 16th Century French royalty, then the return of major series Vikings: Valhalla and The Serpent Queen are bound to keep you busy on Netflix and Hulu .

Elsewhere, you'll be able to watch Rashida Jones befriending a robot in a new Apple TV Plus sci-fi dark comedy series, animated supermarket groceries on Prime Video , as well as the Queen of Hearts (you know the one, from Alice in Wonderland) and Cinderella's daughters travel back in time. To round out our list, there's also a new hostage movie on Netflix called Vanished into the Night that looks like it will keep you on the edge of your seat, alongside a heartfelt esports documentary on Max .

Below, we've rounded up the biggest new movies and TV shows to watch on the best streaming services this weekend.

Vikings: Valhalla season 3 (Netflix)

Vikings: Valhalla | Season 3 Official Trailer | Netflix - YouTube

Ready to find out what happens next to Netflix’s favorite seafaring, ax-waving warriors? The world’s most famous vikings Leif Erikson (Sam Corlett), Harald Hardrada (Leo Suter) and Freydís Eiríksdóttir (Frida Gustavsson) will embark on a final voyage in the hugely popular historical fiction series Vikings: Valhalla ’s third and final season. Will they make it back to Norway alive?

You can now find out, with all eight episodes of the epic viking historical saga being released on Thursday, July 11 – just in time for the weekend. We consider it to be one of the best Netflix shows and we’re not alone, with season two’s epic 11th century road trip sitting with a flawless 100% on Rotten Tomatoes so we have high hopes for the third installment.

Sunny (Apple TV Plus)

SUNNY â€” Official Trailer | Apple TV+ - YouTube

The latest original sci-fi series on Apple TV Plus is a quirky mystery drama that will tug on your heart strings. Made by A24, Sunny is one of two new buddy comedies that the steamer is releasing, but this one has a darker comedic edge.

It follows a grief-stricken Suzie (Rashida Jones) as she tries to mourn the loss of her husband Masa (Hidetoshi Nishijima) and son Zen (Fares Belkheir) – who both died in a mysterious plane crash – with the help of a domestic robot called Sunny (Joanna Sotomura).

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The first two episodes started streaming on Wednesday, July 10, with new episodes to be released on the same day weekly, and looking at the largely positive reviews rolling in, this one has the potential to be one of the best Apple TV Plus shows of the year.

The Serpent Queen season 2 (Starz/Hulu)

The Serpent Queen | Season 2 Official Trailer | STARZ - YouTube

One of the best Hulu shows , The Serpent Queen season two is now available to stream on Hulu .

Based on the book Catherine de Medici: Renaissance Queen of France by Leonie Frieda, the historical drama follows the life of Queen Catherine de Medici (Samantha Morton), who was one of the longest-serving rulers in French history after she married into the 16th-century French court as a 14-year-old orphan. In season two, Catherine de Medici becomes the Queen Regent of France, meanwhile she must try to avoid civil war and contending against Queen Elizabeth I of England (Minnie Driver).

The critically acclaimed drama has a flawless 100% Rotten Tomatoes score, so if you're wanting to watch a stand-out period drama this weekend then The Serpent Queen season two is a must-see.

Now available to stream on Starz/Hulu in the US, MGM Plus in the UK and Stan in Australia.

Sausage Party: Foodtopia (Prime Video)

Sausage Party: Foodtopia - Official Trailer | Prime Video - YouTube

Eight-years after the animated movie Sausage Party, comes this Prime Video series: Sausage Party: Foodtopia. After standing up against the human race in the first movie, Frank (Seth Rogen) and his friends have now set up a safe haven called "Foodtopia." But after a huge flood destroys their sanctuary, they are forced to join forces with humans to survive.

Seth Rogen, Kristen Wiig, Edward Norton and Michael Cera all reprise their roles for this R-rated sequel. While we wait to find out if Sausage Party: Foodtopia would make it onto our best Prime Video shows list, it's ideal if you want some gross-out gags and hilarious idiocy to bring some entertainment to your weekend – just make sure you don't watch it with kids, despite cartoony appearances…

Vanished into the Night (Netflix)

Vanished into the Night | Trailer in English | Netflix - YouTube

Vanished into the Night is another addition to Netflix's ever-expanding thriller library. This Italian mystery stars Annabelle Wallis and Riccardo Scamarcio as estranged couple Elena and Pietro, whose young children disappear without a trace on the outskirts of Bari, Italy. When the kidnapper demands 150,000 euros for their safe return, Pietro connects with a criminal from his past and embarks on a dangerous mission to save his kids.

Based on the Argentine-Spanish movie 7th Floor ( Séptimo ) by Patxi Amezcua and Alejo Flah, it's been described as "silly and implausible, but tightly directed by De Maria, whose goal is to hold us in suspense and make us feel all harried and emotional". So it could be one to put on our best Netflix movies list.

Descendants: The Rise of Red (Disney Plus)

Official Trailer | Descendants: The Rise of Red | Disney+ - YouTube

Descendants: Rise of Red is the fourth installment to the Descendants franchise and a spin-off to the previous three movies. After the Queen of Hearts (Rita Ora) ignites a coup on Auradon, her rebellious daughter Red (Kylie Cantrall) and Cinderella's (Brandy) perfectionist daughter Chloe (Malia Baker) team up and travel back in time to undo the devastating event that led Red's mother to villainy.

Fronted by a new cast, one critic said : "a pleasant surprise addition to the Descendants franchise, proving it can keep the same messages as the original movies." With colorful costumes and catchy music, it's definitely possible this might become one of the best Disney Plus movies .

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Amelia became the Senior Editor for Home Entertainment at TechRadar in the UK in April 2023. With a background of more than eight years in tech and finance publishing, she's now leading our coverage to bring you a fresh perspective on everything to do with TV and audio. When she's not tinkering with the latest gadgets and gizmos in the ever-evolving world of home entertainment, you’ll find her watching movies, taking pictures and travelling.

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What About Love

Two young lovers change the lives of their parents forever when the parents learn from the joyful experience of their kids, and allow themselves to again find their love. Two young lovers change the lives of their parents forever when the parents learn from the joyful experience of their kids, and allow themselves to again find their love. Two young lovers change the lives of their parents forever when the parents learn from the joyful experience of their kids, and allow themselves to again find their love.

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Sharon Stone
Andy Garcia

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February 14, 2024 (United States)
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The Accident
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$30,000,000 (estimated)

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Runtime 1 hour 54 minutes

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Roger Corman, Legendary Filmmaker and King of B-Movies, Dies at 98

Corman helped launch the careers of jack nicholson, martin scorsese, robert deniro, and more..

Roger Corman, the legendary filmmaker and king of B-movies who also helped launch the careers of Jack Nicholson, Martin Scorsese, Ron Howard, Francis Ford Coppola, James Cameron, Robert DeNiro, and many more, has died at the age of 98.

As reported by Variety, Corman passed away on May 9 at his home in Santa Monica, California, while being surrounded by his family.

"His films were revolutionary and iconoclastic, and captured the spirit of an age. When asked how he would like to be remembered, he said, ‘I was a filmmaker, just that,'” the family said in a statement.

Image Credit: Andreas Rentz/Getty Images

Roger Corman was born on April 5, 1926, in Detroit, Michigan, and he wasn't a person who grew up dreaming of making it big in Hollywood. He actually went to Stanford University and chose to study industrial engineering, but he discovered that field was not his passion.

After college, he spent a whole four days working at U.S. Electrical Motors and ended that run when he told his boss, "I've made a terrible mistake." With his future now in his hands and limitless, he chose to walk down the path of filmmaking since his brother, Gene Corman, was a working agent in the movie industry.

His first gig was in the mail room of 20th Century Fox and he would end up having a career that was the stuff of legend. However, he wasn't known for big budget blockbusters and instead found his niche in the world of low-budget films of many genres that could be made very quickly.

He helped spearhead hundreds of these films as the co-founder of New World Pictures, the founder of Concorde/New Horizons, and more, and he was given an Honorary Academy Award for his "rich engendering of films and filmmakers."

He was given such nicknames as "The King of the Cult Film" and "The Pope of Pop Cinema" as only a very few of his films failed to turn a profit in nearly six decades of making movies. While these films may not be the height of cinema, they helped lay the foundation for some of the greatest actors and directors that have ever lived.

In addition to the names listed in the intro, Corman was a key player in helping bolster the careers of Ingmar Bergman, Akira Kurosawa, Peter Bogdanovich, Gale Anne Hurd, Peter Fonda, Dennis Hopper, Bruce Dern, William Shatner, Sandra Bullock, Jonathan Demme, Joe Dante, and many more.

As previously mentioned, he worked with Ron Howard when he was directing his first feature film in Grand Theft Auto in 1977. Howard complained a bit about Corman not paying for any extras in the film, to which he responded, "Ron, if you do a good job for me on this picture, you'll never have to work for me again."

He's also somewhat responsible for the mega-franchise known as The Fast and the Furious as he produced a film with the same name back in 1955. Producer Neal Moritz approached Corman about the name when he was getting ready to launch the franchise, and the two agreed to make it happen.

Most of his credits were as a producer for movies that boasted a budget of just $5 million or under, but he also directed over 50 projects, including Machine Gun Kelly, I Mobster, The Wild Angels, Little Shop of Horrors, House of Usher, and The Intruder.

He kept up a relationship with many of the stars he worked with over the years, and a lot of them gave him cameo roles in their films, including Coppola's The Godfather: Part II, Howard's Apollo 13, Demme's Philadelphia, Demme's The Silence of the Lambs, and Dante's Looney Tunes: Back in Action.

Speaking of those he helped and worked with, people from all over the world have already begun sharing a few words about the impact of Roger Corman, and we'll share a few below;

"RIP Roger Corman. A great movie maker and mentor. When I was 23 he gave me my 1st shot at directing. He launched many careers & quietly lead our industry in important ways. He remained sharp, interested and active even at 98. Grateful to have known him," Ron Howard wrote on Twitter/X.

"Roger Corman was my very first boss, my lifetime mentor and my hero. Roger was one of the greatest visionaries in the history of cinema. I am absolutely devastated by his loss and send my love and deepest condolences to the Corman family," Gale Anne Hurd wrote on Twitter/X.

"Roger Corman, one of the most influential movie directors in my life, has passed away. It was my privilege to know him.He was a great friend. He shaped my childhood with science fiction movies and Edgar Allen Poe epics. I'll miss you, Roger," John Carpenter wrote on Twitter/X.

"We lost a true legend! In 1994, I was in a low budget film when @markhamill visited. Why is a superstar like Mark here? I was confused. Well, it was a #RogerCorman project. Everyone who was anyone loved visiting with Roger! Even a jedi! Last Dec, at the NAEJ awards, I met up w/ Mr. Corman again. He was energetic, joyful and still super passionate for filmmaking. Pure inspiration! One of a kind. Sad to know this special human is not with us anymore. TY for everything. RIP," Ming-Na Wen wrote on Twitter/X.

"So very sorry to hear of Roger Corman’s passing. Working with Roger in The Wild Angels was a highlight of my life. He was a such a lovely man. Sending condolences to his wife Julie and their children," Nancy Sinatra wrote on Twitter/X.

Corman is survived by his wife, Julie Corman, and his two daughters, Catherine and Mary.

Adam Bankhurst is a writer for IGN. You can follow him on X/Twitter @AdamBankhurst and on TikTok.

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