Preview: Rendez-vous with French Cinema 2025

This year marks Rendez-Vous with French Cinema, running from March 6 to March 16, celebrates its 30th year at Film at Lincoln Center, NYC. This celebrated festival offers a dynamic showcase of contemporary French filmmaking, featuring an array of 23 films by both emerging voices—some selected as part of Unifrance’s 10 to Watch 2025 Program*, a yearly initiative honoring a new generation of directors and actors who contribute to the vitality of French creation—and seasoned directors that tackle relevant and enduring themes. This selection of North American, U.S., and New York premieres celebrates the energy, innovation, and range of French cinema.

The stellar lineup this year includes Visiting Hours by Patricia Mazuy, about two woman forging an unlikely friendship over their husbands' incacerations, starring indomitable Isabelle Huppert, the 77th Cannes Film Festival opener The Second Act by Quentin Dupieux, a meta-comedy taking place on a film set and featuring a star-studded cast, Wild Diamond, stunning feature debut by Agathe Riedinger, a gripping exploration of 19-year-old Liane’s (Malou Khebizi) fierce pursuit of fame as a reality TV contestant, Meeting with Pol Pot, a searing indictment of Khmer Rouge regime by Rithy Panh, and Jessica Palud’s Being Maria, which premiered at Cannes, an unsparing exploration of Maria Schneider’s (Anamaria Vartolomei) trauma stemming from her experience on the set of Bernardo Bertolucci’s Last Tango in Paris, with Matt Dillon playing Marlon Brando.

Being Maria (2024) - Jessica Palud As French film industry's going through a full #MeToo reckoning, Jessica Palud's zBeing Maria revisits Bernardo Bertolucci's controversial film The Last Tango in Paris and tells the untold story from the perspective of its co-star Maria Schneider and the film's life-long effect on the actress. Schneider, star of many memorable films as Michelangelo Antonioni's Passenger, Jacques Rivette's Merry-Go-Round, later became outspoken activist against sexism in French film industry.

Anamaria Vartolomei of Happening, plays Schneider, a young, unknown actress chosen by Bertolucci (Giuseppe Marggio), to star opposite Marlon Brando (Matt Dillon) in sexually charged The Last Tango, at age 19. It was the 70s and if you are an established auteur like Bertolucci, it was 'anything goes' for art. The premise of the film is two strangers meeting by chance and carrying out a strictly physical relationship, baring their bodies and souls to each other. There will be a lot of nudity, so it will be controversial, the director warns. But you get to work with Brando and your career will be launched. Maria knows what she is signing up for. Yet she needs a consent form (because she is underage) signed by her movie-business disapproving mother. But it's the infamous "butter" scene, an improvised simulated sex scene involving butter, that really breaks Maria. After the scene, she felt violated and humiliated by both Bertolucci and Brando, who never told her what their intentions were for the scene beforehand and never apologized. Her shock and tears captured on screen were real.

She is reprimanded by her manager for speaking out about the incident during the press tour after the film's release. Soon afterwards, she becomes a heroin addict and finding herself branded as 'difficult to work with', by refusing to do a nude scene in most of the roles she is offered. She befriends with a college student Noor (Céleste Brunnquell) who is writing her dissertation on women's roles in films and the two become involved. And it is Noor who sees Maria through her drug addiction.

It is understandable that Vartolomei was chosen to play Schneider, even though there's no physical resemblance. In Happening, where she plays Anne, a high school student in need of abortion which was still illegal in the 60s France. With all the conservative swing around the world, her performance became a women's rights symbols. And she does a great job portraying a principled young Schneider who saw injustices in French film industry run by men, for men, long before #metoo caught up with it.

Wild Diamond - Agathe Riedinger 19-year-old Liane (Malou Khebizi), living with her unemployed single mother and a younger sister, lives and dies by her phone, getting followers with her looks and dance moves. Platitude of her fans, spreading across the screen is what she lives for. Her emphasis on her looks - she got a boob job and self-administered Botox on her lips, are all part of getting more followers, so she can be famous. Being rich and powerful are her goals in life. She really wants to get out of her less than perfect surroundings. To her, everyone, including her circle of friends, mom, family counselor, and Dino, a local dirt bike mechanic that she has a sweet for, is beneath her.

She gets a call from a casting director of the popular reality TV show, Miracle Island. And she gets a chance to do an audition. This is the golden ticket she has been waiting for. While obsessing over the callback, all the people around her are getting irritated by her diva behavior. Dino asks her what if she doesn't get the TV role. She sullenly replies that she would kill herself. Would she get a break and show all the naysayers, who tells her that being loved is not a talent? Agathe Riedinger creates great intimacy with documentary style camera work with the help of Malou Khebizi's incredibly natural, vulnerable performance in a soul baring role.

Visiting Hours - Patricia Mazuy Alma (Isabelle Huppert) and Mina (Hafsia Herzi), women from two different backgrounds - one of privilege and the other, working class, meet at the family visiting facility of a prison. Both their husbands are incarcerated. Alma, a former dancer now a bored wife of a neurosurgeon who is serving time for DUI manslaughter, sees Mina in distress and lends a helping hand- she invites her and her two young children to stay at her large empty house, so Mina doesn't have to travel 3 hours by bus to visit her husband in prison. This way, Alma doesn't feel so alone by herself.

A friendship blossoms: Mina takes liking to Alma's directness, biting sense of humor and her generosity. It is revealed that Alma's marriage has been on the fritz for a while, even long before the hit-and-run, whereas Mina still has a passionate love for her incarcerated husband- tears and brief tryst on visits. Mina's husband is in jail for robbing a jewelry store and Yassine, his associate outside, is not liking her new situation, suspecting that she and her husband are stiffing him from some hidden stolen goods.
Things take a turn with the news of Alma's husband's early release and Yassine spying on her. Alma's assessment of her husband's collecting art as an investment gives Mina an idea of a staged break-in where Yassin can take one of the paintings from Alma's house and leave her and her family alone. Alma wouldn't mind and won't call cops on her.

Patricia Mazuy's women's empowerment story has similar dynamics with Claude Chabrol's Hitchcockian thrillers. It even starts with Alma shopping for flowers in visually overloaded flower shop sequence reminiscent of Vertigo. Mazuy is a very competent director and gets great chemistry out of Huppert and Herzi. Visiting Hours may not have the gritty, ultra-violent aspect of her last film, Saturn Bowling, but it's a solid film with great performances and great visuals. Meeting with Pol Pot - Rithy Panh Based on American journalist Elizabeth Becker's personal experience in Cambodia under the genocidal Khmer Rouge regime, Meeting with Pol Pot tells a three French journalist Lise (Irène Jacob), Alain (Grégoire Colin) and Paul (Cyril Gueï) being invited to interview Pol Pot, known as Brother No.1 in 1978.

But however the welcome party, consists of high ranking officials who were classmates of Alain at Sorbonne, paints the pictures of completely just and egalitarian society that they are shown around, the skeptical journalists can't shake off the feeling that there's something hidden amid tightly controlled the rural work-camp compound. Paul, the photographer, who has tendency to walk off from the carefully guided tour, disappears first after witnessing human remains in the field and his films confiscated. Even though Lise protests of their near imprisonment in the compound and lack of transparency by their AK-45 wielding captors, Alain, who forged the friendship through correspondences with Brother No. 1, is in denial of the rumors of the genocide of 1.5 - 2 million people, and still hoping for a chance to interview him.

Cambodian filmmaker Rithy Panh is known for his documentary work on atrocities committed by Khmer Rouge regime (S21: Khmer Rouge Killing Machine, A Missing Picture), combines archival footage, rare projections, and dioramas with clay figures, along with scenes with actors to tell the story of what happens when an ideology overtakes its intent. It's a sobering, clear eyed film. Jacob, as she ages, possesses Charlotte Rampling gravitas in her acting.

Spanking the Monkey

The Monkey (2025) - Perkins Bespectacled Hal gets bullied around in school, also by his twin brother Bill at home. The twins live with their single mother (Tatiana Maslany). It's the 90s. They find a windup toy monkey left by their absent father (Adam Scott, shown briefly in the beginning, blow torching the monkey). When the monkey gets winded up, people around it die in some horrible accidents. After their mom dies of brain aneurism (because of the monkey), Hal chops up the monkey and throws it away. After the twins get adopted by their aunt and uncle and move to Maine, they find that the monkey has followed them. It doesn't matter why monkey chose them. It just is. Uncle with the impressive lambchop sideburn (played drolly by Perkins himself) dies first, stampeded by band of horses in a sleeping bag while camping, then twenty five years later, aunt dies horribly too. After many more highly inventive kill offs with many of the population in town dead, Bill and Hal need to finish the job of destroying the monkey, if they could. If not, they will need to learn how to live with the monkey.

If Osgood Perkins's Longlegs left you scratching your head in dissatisfaction, as it walked the tight rope between being a psychological horror and a comedy, please give him another chance with The Monkey, an all out horror-comedy that will wipe off your doubts about his talent as a filmmaker-to-watch. Perkins has a very peculiar sense of humor, to say the least. And his take on Stephen King's short story is an unabashedly slap-sticky, full on gore-fest that doesn't take itself too seriously.

Just like Longlegs, the pace of The Monkey is breezy. It progresses too quickly for us to question what's happening or why. And it's a good thing. Soon you realize that the narrative doesn't really matter. It's all just vibes. Theo James, playing both Hal and Bill, is eagerly along for the ride and keeps the serious face the whole time. Maslany hamms it up to match the film's weird vibe. All the peripheral characters - Hal's boss at the hardware store, the rookie priest, Elija Wood's creepy self-help guru, Perkins's uncle Chip and the tiny Asian girl bully all enhances to the truly peculiar vibe of the movie.

The Monkey is not necessarily the movie that we asked for, but the movie we need in these dark times.

Keeping it Together in this Crazy World

How to be Normal and the Oddness of the Other World (2024) - Pochlatko It's all in the perspectives when talking about our mental health, considering the wild and crazy world that we are living in right now. Austrian director Florian Pochlatko plays with this idea in his zany debut feature How to be Normal and the Oddness of the Other World. We see Pia (played drolly by Luisa-Céline Gaffron), a sullen young woman, being discharged from a mental institution and moving back to her childhood room in her concerned parents' house. Mom, Elfie (Elke Winkens), is a voice actor for narrating documentary programs and dad Klaus (Cornelius Obonya) owns a printing company.

Jumbled up timeline and fantasy sequences, you don't quite know what we see on screen is real or not, neither does our unreliable narrator Pia, who is on a variety of colorful anti-psychotic pills. We get to know a little bit of details in Pia's life - her boyfriend Joni (Felix Pöchhacker) has moved on, but Pia is still deeply in love. And it gets a little touchy when she confronts him and his new love. Also Pia is paranoid about men in black suits, very much like Agent Smith from the Matrix movies, following her around everywhere. Are they real or her drug induced hallucinations?

In order to give some stability to Pia, her parents decide to give her a job at dad's company, doing dull office work. They hope that a daily routine would help her. But the real world is not as stable as everyone hopes to be. Increasingly sensationalist tendencies in documentary topics that Elfie narrates - parasite infected zombie snails, wayward asteroids that might collide with the earth, combined with daily atrocities and natural disasters blaring on TV, test Elfie's sanity causing her to crash her car in a traffic heavy motorway. Klaus struggles with his company being taken over by a huge conglomerate called 'Friendly' (a stand-in for Amazon). It's as if there's a very thin line distinguishing being normal and insane. Not only Pia, but everyone slowly loses grip on their reality, as the world keeps spinning out of control.

How to be Normal asks big questions about what is perceived as normal when the world around us is insane. Pia, constantly under pressure to be normal, is trying to hold on to the idea of home and self-worth in the world constantly in turmoil. Pochlatko, like Daniels' Everything Everywhere All at Once, balances the heady subject with plenty of humor and great visual gags. As paranoid and delusional Pia appears to be, she provides the film's many hilarious moments as she appears as a giant monster with a piece of Gouda cheese across her face lumbering like a Gozilla in the city, or using the post-it notes to cover her face at her job. Gaffron is fantastic as a acne ridden, heavily medicated young woman desperately trying to find a footing and self-worth, so is the rest of the cast with their droll performances.

Can Pia find peace and stop slashing her wrists with a plastic knife? Is there a brighter future for mankind? Pochlatko poses these questions and asks us to contemplate what it means to be sane and normal in the world that is completely nuts.

Symbols

Hysteria (2025) - Büyükatalay German filmmaker Mehmet Akif Büyükatalay's Hysteria touches upon sensitive subjects in modern day, multicultural Germany: racism and representation. The film plays out like a tense thriller until it morphs into a chamber drama where the identity politics within the immigrant community are dissected and hotly debated. Hysteria might not be as subtle as fellow Turkish descendent filmmaker Thomas Arslan (A Fine Day)'s work, or as flashy as Fatih Akin (Head-On)'s, but the film is more direct and piercing in dealing with the complex subject matter. The plot sometimes feels clunky and forced as it gets tangled up in its own intricate web, and the seemingly important loose ends don't tie up neatly by the end. But Hysteria is an anxiety inducing pressure cooker of a film that concludes with the literal fiery end.

Hysteria starts with an arson, a staged one: it is revealed in a long zoom out that the house being torched is in a giant film stage. The film director Yigit (Serkan Kaya) interjects and gives the context to the image - it's the reflection of the arson attacks that took place in Germany in the 90s by the ultra right-wing groups against Muslim immigrant communities that killed hundreds of innocent people. What Yigit is trying to capture is immigrant non-actors’ emotions, going through the aftermath of the arson attack. These extras are culled from a local refugee center for authenticity's sake. After the shoot, it is revealed that the copy of Quran is burned along with other household items during filming and some of the extras are upset. One of them, Majid, walks off the set. So, the driving duty falls on a young and eager intern Elif (Devrim Lingnau). She has to drive extras back to the refugee center and drop off the film negatives (the project is shot on film) to an apartment that belongs to the film's producer Lilith (Nicolette Krebitz) who is also well known, respected filmmaker herself.

Elif has a healthy discussion with the extras about what the project is about on the way back to the refugee center. Mustafa (Aziz Çapkurt), himself a theater director back home, thinks Yigit is just perpetuating the victimhood on screen, which has been long prevalent in German cinema - so called "Gasterbeiter (Guestworker) Cinema" or "Cinema of Duty" of the 70s and 80s. These are the films the white liberals can have their conscience clear and make them feel good after viewing. Others disagree, including Elif, a university student with a Turkish immigrant father, who thinks the film is saying something important.

After Elif drops them off, she arrives at Lilith's but realizes that she lost the keys to the apartment. After calling a locksmith, she places several fliers about missing keys around the neighborhood. But she conceals the lost key incident to Lilith for some reason. This little deceit snowballs into full blown paranoia when she gets text messages about the lost keys from a stranger. The texts, with bad grammar and their profile picture and their social media linked to some scary looking Muslim extremist group, Elif, sufficiently freaked out, calls Said (Medhi Meskar), a young immigrant who was an extra in Yigit's film and tells him what's been happening. When Yigit and Lilith come back, to Elif's dismay, they find the footage that contains the burning Quran is gone. Someone broke into the apartment and lifted the footage. Yigit, furious and suspects the extras and calls cops on them. Mustafa, Said and Majid all deny any involvement in wrongdoing.

Lilith, who wasn't fan of the footage and in fear of controversy, convinces Yigit to file a theft insurance claim and reshoot the scene without Quran. The problem solved. But for Elif, the problem is far from solved. She confronts Lilith and Yigit with Mustafa, Said and Majid, and asks for an apology. This is where things get a little shaky in terms of narrative contrivances. While I appreciate the need of seeing frank discussions about how people perceive others and others perceive themselves, class disparities, 'write what you know,' etc., but nothing really gets sorted out in Hysteria. The jarring tonal shift, untied loose ends, underdeveloped motivations and obvious symbolism (not only Quran but actual negative film catches fire at the end) devolve into a melodrama. Büyükatalay has a knack for making an anxiety inducing thriller. But issues don't necessarily get solved themselves even when they are screamed out loud for everyone to hear.

Parti pris

Armand (2024) - Tøndel Halfdan Ulmann Tøndel's scathing primary set school drama Armand features a stunning lead performance by Renate Reinsve (The Worst Person in the World). Reinsve plays Elisabeth, a mother of Armand, a troubled 6 year old kid who is accused of sexual assault on a classmate. The supposed victim is a son of Sarah (Ellen Dorrit Petersen), who is a sister of Thomas, Elisabeth's dead husband. The emergency PT conference is called in the backdrop of the empty, old primary school since the school is out for summer. Elisabeth is first seen frantically driving to school, trying to connect to Armand on the phone. With jewelry, makeup, a revealing top and high heels, she exudes a partygirl vibe. She wipes off her lipstick before she enters the school. Waiting there in school are - harried principal Jarle (Øystein Røger), an inexperienced young teacher Sunna (Thea Lambrechts Vaulen), and an administrator Ajsa (Vera Veljovic-Jovanovic), as well as Sarah and husband Anders(Endre Hellestveit).

An attempt, led by Sunna, to appease both parent parties and make light of the situation fails miserably as the temper and accusations fly. It's a serious accusation that Armand hit the kid and pulled his pants down and uttered the words 'anal sex'. The situation is too much for a young teacher to handle. Jarle and Ajsa step in. As they weigh in the steps that need to be taken by the school, Elisabeth has a laughing fit that lasts several minutes, as everyone else increasingly feels uncomfortable. It's as if she is sabotaging the process and dragging it out, as if she doesn't want to face the accusations. Sarah is convinced that Elisabeth, an actor, is out to manipulate the situation by creating a drama and making everything about herself, the victim. She urges Jarle and everyone to consider Elisabeth's profession, and in turn her mental fitness for being a mother. Who knows if she has something to do with Thomas's accidental death? Jarle who has known Thomas and Sarah since they were kids who attended the same school, increasingly believes Sarah's opinion of her.

Armand reminded me of another Scandinavian film with the similar subject, Thomas Vinterberg's The Hunt, starring Mads Mikkelsen, a kindergarten teacher accused of a sexual abuse by a young girl, which turns out to be a little lie. A grandson of Liv Ulmann and Ingmar Bergman, Tøndel, a young Norwegian filmmaker, shows his pedigree with Armand. The filmmaker uses those empty interiors to his advantage (with DP Pål Ulvik Rokseth), playing with silhouettes and focus shifts.

Directing the actors, with simmering tensions and emotional turmoil dealing with such a delicate subject, Tøndel shows a firm grasp of working with seasoned actors. For Reinsve, it's a very hammy role, balancing between a seductress and an innocent woman who is persecuted by her looks in a physically demanding role. And she gives it all.

Armand is a tense movie with warring factions calling for blood. But it also leaves some room for poetic moments of reprieve as Elisabeth dances with the school's custodian with a broom and an intense physical altercation fantasy sequence near the end involving Elisabeth and a group of parents who were there to recap the school year with the administration who just heard about the accusation. The scene where everyone's hands are on Elisabeth, poking, nudging and grabbing her, is reminiscent of the scene from Repulsion. In this, it's as if the accusers are trying to get a piece of the accused with their preconceived notion of Elisabeth, the unfit mother. With the strong performance from Reinsve, Armand is a commendable first feature from a promising young director. Armand receives will have limited theatrical release on Friday 2/7 at IFC Center. Nationwide release will follow.

Ghosting

Presence (2024) - Soderbergh Shot entirely in one location with a small camera with a wide-angle lens, Steven Soderbergh's slight ghost tale in suburban America is a well made, well executed little genre exercise. It starts with a POV shot of both in and out of a spacious but empty house in a suburban neighborhood, giving us the layout. The camera lingers behind the half shut closet door looking through the shutter of a second story room then the screen goes to black. This cutting to black happens throughout the film. Rather than cutting to another scene, Soderbergh let the shot end with black screen, like 80s John Carpenter films. It's an effective way to show the time progression. But it might also have to do with the continuous recording time limits in those small Sony cameras he used. A family, consisting of Dad (Chris Sullivan), Mom (Lucy Liu) and their two children in high school, Chloe (Callina Liang) and Tyler (Eddy Mayday) move in soon after. Mom's insistence about it being in the good school district and their son's swimming career, we can gather that Tyler is mom's favorite.

As they settle in in their respective rooms, we realize that it's the same room that the camera lingered in the beginning is the one Chloe moved in. With her uneasy stares, Chloe might be sensing that she's not alone.

Through the interactions within the family, we find out that there were recent deaths in Chloe's life - two of her close school friends died mysteriously and she is having mental health issues. Tyler being a jock and favorite of mom, her dad tries to be an ally to Chloe, albeit passively. It is also revealed that their controlling mom, always on her laptop, always busy with work, might be involved in some illegal white collar crime and their marriage is not going well.

Tyler's friend Ryan (West Mulholland), a cool kid from school visits and befriends Chloe and they make out when no one's home. Ryan says some creepy things about being in control while he cooes Chloe, "You are in control and you make decisions," while trying to slide in date rape drug in her drinks while she's not looking. Something's wrong about the guy and the ghost/presence, knocks off the drink just in time.

Paranormal activities start happening around the house - things get knocked off, the lights flicker, and it's not only Chloe who experiences these things anymore. So the medium is called. There's a presence in the house and something bad is going to happen - the medium tells the family. Mom is skeptical and the medium lady is not welcome after the first visit.

Soderbergh and his script writer David Koepp concoct a simple story and it's very well realized on screen. As usual, there's not much fat on the plot and dialog and everything is very succinct. That's the thing about Soderbergh though. There is nothing much there. There's no social/political/racial context to the story. There's a little bit on the power and consent related to the husband and wife and also the manipulative serial rapist and his victims, but when all said and done, Presence is not that memorable, just like any other Soderbergh film. Yes it's a cool small genre exercise in a formalist way with the POV, but it's so devoid of any context that it leaves your head as soon as you leave the theater.

Endless Summer

Du côté d'Orouët (1971) - Rozier Three hardworking Parisiannes Caroline (Caroline Cartier), her cousin Kareen (Françoise Guégan) and Joélle (Danièle Croisy) go on late Summer vacation to Orouët, the coastal town near Nantes. Caroline's mother has a place near the beach they can stay at. For the trio of young women, the late summer is all giggles, sunbathing and freedom in off season at the beach. Then Joélle's work boss Gilbert (Bernard Menez) shows up at their doorstep. It is obvious that Gilbert, who has office crush on Joélle, tracked her down with "Oh I was just in the neighborhood and what a coincidence that we are taking a vacation in the same area!" spiel. He forces his way into the girls' summer house. His insistence can be annoying at times but he has a goofy, nerdy charm to him. He takes a lot of abuse from the girls being the only guy in the group. But their dynamics change when they meet up with suave local sailor Patrick (Patrick Verde), who takes girls sailing in his boat. Patrick ends up with Kareen, but it's pretty obvious that Joélle's jealous. Little tensions rise.

With 2 1/2 hr running time, Jacques Rozier's long winded summer holidays movie with the always watchable trio of lovely working class girls, is filled with shrieking laughter, lazy afternoons, hazy late summer sun and boozy nights. Rozier's not really interested in a melodrama with summer flings. Du côté d'Orouët is more interested in capturing the excitement of summer vacation and its fleeting nature. Mostly handheld sunkissed cinematography has an intimate home movie feel to it.

Undead

Nosferatu (2024) - Eggers Robert Eggers, known for his meticulous yet fruitless research to the subjects he depicts (fruitless because they are fictional stories and characters - The Northman, not historical characters), does it again with Nosferatu- a gothic vampire story told countless times in cinema history before, and therefore there's no meat left to peck on. So how does it fare up against all other Dracula iterations?

Eggers reinterprets unauthorized Murnau version of Bram Stoker's Dracula, Nosferatu (1922), with an Eastern European folklore twist that Stoker was inspired to write his book from. So there are slight differences in the foreboding story of the supernatural in the age of enlightenment, but the choices Eggers makes here are not particularly cinematic nor thrilling.

In this new Nosferatu, the undead, Count Orlok is neither a suave Victorian age shapeshifter, nor shriveled up, rodent like creature. He is more like a zombie who is resurrected by dreams of a little waif who burdens herself to save humanity from the plague.

I can't help but compare this new film with Werner Herzog's take on the same story, which is one of my favorites of all time. And Lily-Rose Depp, with all her conniptions and convulsions, is no Isabelle Adjani. In all aspects - cinematography, choice of locations, music, acting (even in intentionally stilted theatrical performances by Kinski, Ganz and Adjani), and periodic and cultural details, Herzog gets that 'ecstatic truth', that Eggers can only dream about bringing from his historical research to the screen. Even the sex and nudity can't liven up this dull, sodden version of the story.