Here Are The 18 Finest French Movies You Can Watch Right Now:
France has always had a lot to offer in the arts and society. France has always had some of the best stars in the world, such as Gérard Depardieu and Jean Reno. It also has some of the best directors and writers, like Francois Truffaut and Jean-Luc Godard.
Some of those stereotypes are based on fact: avant-garde filmmakers including Jean-Luc Godard and Agnès Varda were very proud of how smart they were. But once you look into French film, it’s easy to see why it has had such a big impact on movies around the world. It’s also not nearly as pretentious and strange as it might seem at first.
People have said that French film is new, artistic, and realistic, but there is also a romantic feel to it. The movies on our list do a good job of showing this character’s two sides. Some of the best French movies of the past few years play with the idea that Paris is the city of affection, but other movies go deeper.
Some movies, like Amelie, The Triplets of Belleville, The Science of Sleep, and Welcome to the Sticks, show how beautiful simple things can be. Other movies, like The Piano Teacher and Blue is the Warmest Color, look at human wants and feelings, often in a way that is too sexually open.
Several connections can be made between Reed’s “The Key,” which is also a sad story of a doomed love story set against a background of rough seas as well as salvage ships, “Le Quai des Brumes,” which was the first time the two stars worked together, with Gabin again combining the tender as well as the explosive, as well as Morgan entering the movie with clouds of sadness following her, and Fassbinder’s “Querelle,” which is set in the real Brest and is grey and windy, but is still one of the
Remorques started in the summer of 1939, stopped when the war broke out, and were not used again during the occupation. It feels a lot like the last European film from the 1930s at times, like when Morgan thinks about the dead starfish Gabin gave her.
Other People’s Children:
The most famous song that Virginie Efira wrote after “Benedetta” couldn’t be more different. It was like she wore her sexuality like armor in that movie, but in Other People’s Children, she’s all open and vulnerable, just like the medieval nun drama was an outside explosion of camp.
Efira, a woman in Paris in the 2020s who is about to go through menopause and reflecting on her decisions, portrays a character directed by Zlotowski. She chose not to have kids, but her relationship with a single dad as well as her growing bond with his little girl give her a taste of what it’s like to be a parent.
When the bond was suddenly ripped away, it caused a quiet sadness about what could have been, but it never became too dramatic. It’s one of the most stunning pictures I’ve seen recently of a woman in her 40s.
It’s full of details that make her seem so real. Also, it’s one of the greatest pieces of writing about modern Jewish life within France that I’ve seen in a long time. We hope that Efira and Zlotowski will work together again soon.
Welcome To The Sticks:
Philippe is sent from sunny Provence to the north because of a stupid mistake he made at work. Philippe and his family are very upset about the news. They seem to think of the North as a dark, cold place where simple people speak a French language that no one understands.
Philippe leaves with a warm winter coat to face the mean Buergues while his family stays behind. When he reaches the city, it looks like his worst fear has come true.
It starts to rain hard at the border, and when he meets someone for the first time in the city, they can’t understand a word of each other. It turns out that the North isn’t that cold, though, and neither are the people who live there.
The movie primarily consists of jokes that rely on stereotypes and include bad language, with the main objective of eliciting laughter from the audience. Danny Boon oversaw the translation of the film’s subtitles because language is such an important part of the humor. As a result, people who don’t understand French can still enjoy it.
While Welcome to the Sticks is a gentle and funny comedy with a distinctly French feel, don’t expect any major character growth or realistic social portrayals. The players are funny as well as charming, making for great entertainment that’s as fruity as a good French rosé.
A Trip To The Moon:
Many people think this short, black-and-white, silent film by Georges Méliès is the first sci-fi movie ever made. It may be his best-known work and the most famous short film ever made.
It made a big impact on movie history by utilizing new techniques and being regarded as an amazing show for its time. Professor Barbenfouillis and the Institute of Incoherent Astronomy decide it’s time to plan a trip to the Moon to do research.
Soon, the brave inventors are going to land their rockets on the lunar fields that don’t seem to have any people on them. They will be amazed by the wonders of space, but they won’t know that the Moon Emperor’s terrifying troops of Selenites are ready to defend themselves.
A reaction to Bresson’s “A Man Escaped” that is not religious. There was no question of grace; there was only grind as well as grime. Four prisoners worked together and were finally misled by a fifth to dig their way to a laughable glimpse of freedom.
Becker tells a true story in a low-key way, focusing on reality and skipping music in favor of natural sound, always focusing on the body.
Still, the close-ups that show how the escapees’ friendship changes and how they finally find a way to forgive the person who betrayed them remind me a lot of Bresson. This is Becker’s best film. It is so classically simple that it’s almost timeless.
The premise of “The Sapience” sounds like it could be used for a typical indie drama: a couple who are no longer together travels to the country to try to feel better, meets two troubled teens, and finds hope again by helping them work through their problems.
Gag. But “The Sapience” isn’t like any other movie the French-American director Eugéne Green has made. Literary ideas intertwine with quiet stories in her movies. Instead, the writer-director makes a movie that is both heavy with academic research and has a touching core that no other movie has.
Francesco Borromini, a Roman baroque builder who worked in the 1600s, used an old meaning of knowledge in his work, making it as much of a character within the movie as the thinkers who are at its center. His work becomes as much of a character within the movie as the thinkers who are at its center.
When Green mixes the past and the present, it creates a strong mix of intellectual as well as emotional events that is also a funny, dry show. It’s one of the few stories that is both intellectually stimulating and uplifting at the same time.
Of Gods And Men:
The movie by Xavier Beauvois shockingly portrays the killing of seven Cistercian monks by individuals strictly adhering to Islam.
It’s not a big surprise that the movie was an instant hit in France. The true tale of the Cistercian monks pretty much sums up all the problems in the Arab world over the past few decades.
Algeria, where the monks in the movie live, was one of the initial French colonies. It didn’t become its own country until 1962. French people are very interested in what’s going on in Algeria because of the strong political and cultural ties.
Attackers killed the seven monks in one of many attempts to damage the relationship between Christians and Muslims. But this movie makes the story of the monks more than just a religious tale.
It turns it into a global symbol of all the recent terrorist attacks. A few months ago, members of Al-Qaeda went into Charlie Hebdo’s offices and killed eleven individuals.
This clearly shows that the issue is becoming more important. But it’s not just France that is in danger; Islamic terrorists’ actions are a threat to everyone, even Arabs who just want to live their lives as well as practice their religion without any trouble.
Louis Feuillade wrote and directed this silent crime movie. It takes place in Paris and is about a writer and his closest companion, who get involved in trying to stop and reveal a strange underground Les Apaches group called The Vampires.
The serial film has ten parts that are all very different lengths. Many consider it one of the biggest shows ever, with a runtime of approximately seven hours. Because it looks and works a lot like Feuillade’s other two movies, Fantômas and Judex, the three are often thought of as a trio.
Vincent, François, Paul Et Les Autres:
Claude Sautet is a director who pays a lot of attention to the people in his movies. He puts more emphasis on conversation and character development than on plot twists or new techniques.
Even though Sautet doesn’t make a big deal out of his photography, his work is quietly excellent and produces some very memorable pictures. “Vincent, Francois, Paul et les Autres,” as its title suggests, is an ensemble film about a group of friends who get together often to talk about their problems.
Vincent is a classic example of a French auteur film, which is a picture of group friendship that goes beyond its many storylines. While critics love it, audiences don’t always agree. Do not worry; “real life” seen through Sautet’s view is very interesting and funny.
The Man On The Train:
Patrice Leconte served as one of the most exciting and captivating directors in the world from 1989 to 2002. The Man on the Train may have been the end of his career-defining hot run, but Girl on the Bridge, which was so emotional, was the beginning of it.
“The Man on the Train” is a wise and wonderful story about a retired teacher who meets an elderly bank robber who is about to make a big score. It wasn’t Leconte’s last movie, but it feels as though it could have been it has the identical wistful spirit that has marked so many of the best farewells in movie history.
Both sweet and never emotional, these two tough guys become friends, and the bond they form over the course of a single weekend is as memorable as any love tale.
People all over the world know the Dardenne brothers for making realistic movies about young people on the edges of society. In The Son, they blend the usual social issues with dramas about the mind.
Olivier was a carpenter who now lives alone because his only son died five years ago, which caused his marriage to Magali to end. He hires Francis as a trainee. Francis is 16 years old, and he knows that he killed his son. Olivier strives to keep this secret from the kid because he likes how talented he is, but the truth always comes out.
In the background, the plot moves slowly, but the strange and quiet master and pupil cast a shade over it. The actors are busy with their work for most of the movie, with their backs to the audience, and they rarely say anything.
The lack of speech and music contributes to the slow pace of the movie. But as more is shown about the link between Olivier and Francis, tension builds in every frame. Even though the secret was almost obvious, the makers managed to keep things exciting by not revealing the truth until almost the last moment.
The Passion Of Joan Of Arc:
Carl Theodor Dreyer, a Danish director, brings divine bliss and societal dishonesty to blunt, bright life in one of the most important and unique works of the silent period. Carl Theodor Dreyer, a Danish director, portrays the trial of Joan of Arc in the hours leading up to her execution.
He shows how quickly she died as a hero, using a variety of techniques to immerse viewers in her unique point of view and personal experience. Renée Falconetti’s great performance in addition to Dreyer’s brave experiments with form showcases her ghostly face, portraying “the agony and the ecstasy” of being persecuted.
That Man From Rio:
This is a hilariously silly movie that is funnier and racier than Raiders of the Lost Ark and funnier than any of the later James Bond parodies.
Belmondo beautifully filmed on location in Brazil, portraying the happily unbreakable hero who leaves things hanging, climbs buildings, acts like Tarzan, parachutes almost into a crocodile’s mouth, and tries his best to deal with Dorléac’s charmingly unpredictable behavior. The international version doesn’t have too much dubbing.
Of Gods And Men:
From the very beginning, “Of Gods and Men” brings the holy lives of its monk characters to life. Eight monks live in what looks like a cute mountain village in North Africa. Every day, the monks recite their prayers, filling their holy rooms with the repetitive sounds.
When they help their Muslim neighbors with physical problems and give them spiritual advice, they live in peace, but it doesn’t last long. Violent Islamic radicals suddenly shatter the peaceful life of the monks. This is where the movie’s main problem starts.
In 1996, unknown assailants mysteriously killed seven French monks in Algeria. Xavier Beauvois’s quiet fifth film is loosely based on that event, but it takes some liberties with it, and its simple setting feels like it’s not in the present.
If you don’t care about the religious background, it works just fine as a calm look at personal beliefs in the face of certain death.
Beauvois says that every time a monk thinks about his future, something deeper is going on below the surface. By keeping their ultimate fate off-camera, he conveys the strong thought that the full extent of the disaster was unknown, which makes the movie relevant to this day.
The Piano Teacher:
European movies commonly depict strong sexuality and feelings, enhancing their authenticity through the use of an authentic method of filmmaking. However, this way of thinking is considered a trend only in France. This trend is known as “New French Extremity.”
The Piano Teacher by Haneke is an important part of this trend. The movie demonstrates the rawness and authenticity of human emotions, particularly the repression of sexual desire. The end result is a beautiful story that is also disgusting.
Erica, the main character and piano teacher, is cold, sad, and alone. She is tense sexually and is ready to lose control at any moment. Her own needs are making her angry, which makes her want to hurt herself.
When the young and charming Walter shows up, he makes her feel like Electra, and a strange sexual relationship begins between the teacher and the student. Although Walter fears Erica’s sexual problem, he is also willing to fulfill her desire for shame and pain.
The story jumps around between the violent sex scenes as well as parts of Erica’s strange, lonely life. The film gradually delves into the core of Erica’s distorted sexuality, portraying it harshly through extended takes and static shots.
It’s not clear from the director who the main character is; it’s just as hard to see things from Walter’s point of view as it is from Erica’s, who is sexually obsessed.
It’s clear that The Piano Teacher isn’t a film for the faint of heart, but it does show how great Haneke is. This level of detachment in the audience could only be achieved by a clever director who would show the ugliest side of human desire without any filters.
The Red Circle:
Le Cercle Rouge states that people who are destined to meet will do so “in the red circle,” regardless of the unconventional paths they may take. After being released from prison, Alain Delon’s master thief crosses paths with a famous criminal on the run.
This shady trio plans a heist with very low chances until an unbending inspector and their own personal fears and pasts seal their fates. The movie by Jean-Pierre Melville is a masterpiece of noir crime film. It has great antiheroes, beautiful moody photography, and amazing set pieces.
After her biggest hit, Portrait of a Lady upon Fire, Céline Sciamma changed gears with Petite Maman, a small but perfectly sized gem that came out in 2021. But not in the way anyone expected. She does her own thing within her own unique style, which is why we chose her as one of the 50 coolest directors in the world.
In this case, it means putting together two amazing performances by child actors within a haunting story about moms and their children that explores the routines of play and finding in a touching way. Someone else couldn’t make something so little seem so important.
The Beat That My Heart Skipped:
With “A Prophet” in 2009, Jacques Audiard became one of the most famous French filmmakers in the world. But he had already been known as one of the most interesting French filmmakers for a long time.
If you like James Toback’s 1978 song “Fingers,” then “The Beat that My Heart Skipped” from 2005 is the perfect example of a version that makes the original song even better.
Audiard’s amazing fourth movie tells a raw gangland tale alongside the precision of a person playing the Mephisto Waltz. A talented musician is pulled between a life of crime and a dream of becoming a concert pianist in this nail-biting thriller.
The Beat That My Heart Skipped is sexy, stressful, and beautiful in a way that underworld sagas haven’t been since the time of Jean-Pierre Melville. It also has Duris’s best performance and may still be Audiard’s best movie.