Somewhere on the border between Quebec and the United States, the intractable customs officer, Sonia (Julie Le Breton), rules her boom gate with an iron first. No one gets past her eagle eye, not even Victor (Édouard Baer, How to Be a Good Wife, AF FFF20), a charming but down-on-his-luck French chef from New York, who finds his knives and gourmet food unfairly confiscated. Meanwhile, Sonia's daughter Lili-Beth is sick of being bullied at school. When she enters a Mini Chefs competition to stick it to her bullies, it seems she's the underdog with no hope of winning. Unless Julie can convince Victor to help her. However, it’s not just the pressure of the Mini Chefs competition that threatens to boil over: community tensions and divisions are bubbling under the surface of this rural border town, with bitterness an all-too-familiar flavour. But Sonia, Victor and Lili-Beth are about to serve up something new. This feast of a comedy from director Manon Briand is full of laughs and touching connections. Set in the beautiful Canadian countryside and replete with mouthwatering dishes, ALL STIRRED UP! is a deliciously heartwarming story that will leave you hungry for more.

The phenomenal Adèle Exarchopoulos (Blue Is The Warmest Colour) and François Civil (The Three Musketeers) – arguably French cinema’s brightest young talents – devour the screen in Gilles Lellouche’s vibrant, genre-spanning romantic epic that follows a written-in-the-stars infatuation tested by social boundaries, betrayal and circumstances beyond all control. Love makes one crazy. Just ask Clotaire (Civil) and Jackie (Exarchopoulos), who meet in their teens in their Northern France working-class neighbourhood in the 1980s. Despite their differences - she is a diligent student from the middle class, he a charming troublemaker with a complex family life - an intense and unmistakable connection is sparked. But tragedy soon pulls them apart. A decade later, Clotaire tries desperately to win back his lost love. But has his chance passed? Driven by a kinetic soundtrack by Jon Brion, indelible production design and all-star supporting cast, BEATING HEARTS pays homage to the US independent film wave of the 80s and early 90s but creates an impact truly of its own. Delivering another massive, crowd-pleasing blockbuster result at the French box office (after Sink Or Swim) with an extraordinary 5 million admissions, Lellouche reaches for the stars and rewards all who strap in for the ride.

At 91, legendary director Costa-Gavras' BEFORE WHAT COMES AFTER is a poignant tragicomedy inspired by the work of Régis Debray and Claude Grange. Deeply personal, this is a rare chance to witness a cinematic titan reflecting on life and mortality. What begins as a chance encounter during a routine checkup evolves into a profound friendship between acclaimed philosopher Fabrice Toussaint (Denis Podalydès, The President's Wife, AF FFF24) and head of palliative care doctor Augustin Masset (Kad Merad, The Big Hit, AF FFF21). Woven through radical conversations with Masset, his team of passionate caregivers, and their patients, Costa-Gavras unearths our buried fears of death and dying while gently reminding us of the art of listening. Guided by Masset’s radical approach to patient care, Toussaint discovers the power of returning choice to the body and the dignity in dying as one chooses. Dialogical and Socratic in tone, yet never stuffy, this film lyrically grapples with unanswerable questions, responding to our existential fears with love and care. In the spirit of groundbreaking philosophical films like My Dinner with André, Costa-Gavras deftly teaches without instructing. Daring to ask life's biggest questions, BEFORE WHAT COMES AFTER invites us to listen closely – the answers may surprise us.

Based on Vanessa Schneider's book My Cousin Maria Schneider and informed by Back Home director Jessica Palud’s own experience working with director Bernardo Bertolucci, BEING MARIA is the true story of the actress' fallout in the wake of a film so lewd that she was criminally charged by Italian courts. 1972: When 16-year-old aspiring actress Maria Schneider (Anamaria Vartolomei, Happening, AF FFF22) reconnects with the father and movie star who abandoned her as a child, she is kicked out of home. Distanced from her mother's controlling influence, she is drawn into the orbit of aspiring director Bernardo Bertolucci (Giuseppe Maggio), and cast alongside superstar Marlon Brando (Matt Dillon) in the salacious Last Tango in Paris, Bertolucci’s provocative new film inspired by his fantasies. However, this opportunity comes at a heavy cost. Despite only consenting to scripted nudity, Schneider is ambushed by an improvised scene of sexual assault devised by Bertolucci and Brando. BEING MARIA is the powerful and damning exploration of the monstrous side of art, and the women left to pick up the pieces. In the wake of #MeToo, Palud poses a vital question: for women, is it ever truly just “show business”?

Every 15 minutes, someone somewhere in the world plays Ravel's "Bolero" – it's a legacy its artist could never have imagined. Renowned composer Maurice Ravel (Raphaël Personnaz) is haunted by self-doubt and melancholy. Commissioned by eccentric and magnanimous Russian dancer Ida Rubenstein (César-winning Jeanne Balibar), he must compose a carnal, rapturous fanfare for her latest ballet. Blocked creatively and cast aside by his peers, Ravel turns to his closest friends for inspiration – pianist Marguerite Long (Emmanuelle Devos, Masquerade, AF FFF23), his friend Cipa (Vincent Perez) and Cipa's sister Misia (Doria Tillier), whom he hopelessly adores. Set against the decadent, industrialised Paris of the 1920s, "Bolero" demands that Ravel draw on the essence of sound itself to redeem his raw genius, or risk being consumed by it completely. A tribute to the timelessness of the composer’s haunting masterpiece, Bolero, writer-director Anne Fontaine takes us on a deconstructed, elliptical journey through the idiosyncratic life of Maurice Ravel, via his struggle to complete that 17-minute piece of music. Premiering at the International Film Festival in Rotterdam, BOLERO is a celebration of a classical genius.

Special Forces veteran Elyas (Roschdy Zem, The Origin of Evil, AF FFF23) lives in isolation, haunted by the horrors of Afghanistan. When a ghost from his past reappears, he is drawn back into a world he swore to forget. Now working as a bodyguard for Amina (Laëtitia Eïdo) and her teenage daughter Nour, he must protect the family from shadowy forces – even if his paranoia threatens to consume him. But what, or who exactly, are Amina and Nour hiding from? As Nour works her way into his heart, a mysterious syndicate shatters their peace. Forced to confront highly-trained enemies in a tense game of survival, Elyas must reactivate the soldier within, or risk losing everything. With every decision crucial, and every person a threat to Nour, will Elyas' survival instincts become his greatest weapon? Action-thriller director Florent-Emilio Siri (director of Hostage starring Bruce Willis) returns to the big screen with his most explosive film yet. Roschdy Zem’s nuanced performance alongside newcomer Jeanne Michel, transforms ELYAS into a gripping, edge-of-your-seat film. Perfect for fans of John Wick and Taken, ELYAS asks how far you would go to protect the people you care for.

How close is too close? Doctor Béranger (Christian Clavier, Employee of the Month, AF FFF22), a brilliant psychoanalyst, has life figured out – except for one little hiccup: his desperately needy client, Damien Leroy (Baptiste Lecaplain). Suffocated by Damien’s relentless clinginess, Béranger devises a plan to get rid of him by convincing him of a “secret” – true love will cure him. At first, it works like a charm... until it works too well. Fast-forward to Béranger’s thirtieth wedding anniversary, when his daughter drops a bombshell: her new boyfriend is none other than Damien Leroy. Worse, Béranger and Damien must pretend they’ve never met. With the family’s happiness on the line, a celebratory weekend of meeting the parents spirals into chaos as true love turns from remedy to disaster. Arnaud Lemort's upbeat, slapstick comedy will leave you in stitches, poking fun at attachment theory, boundaries, and the absurd idea that true love fixes everything. Packed with shenanigans and heartfelt missteps, FAMILY THERAPY shows what happens when family and work collide, with hilarious results. After all, what’s better than a free therapy session, even if it derails your psych’s life in the process?

Direct from the Cannes Film Festival 2024, HOLY COW marks Louise Courvoisier as a powerful new voice in cinema, winning the festival’s prestigious Youth Prize in the Un Certain Regard category. In the Jura region, renowned for its Comté cheese, 18-year-old Totone (Clément Favreau) has his childhood cut short after a devastating tragedy. Suddenly the sole carer for his 7-year-old sister Claire (Luna Garret), and forced to sell his father’s farm equipment to make ends meet, Totone devises a plan: follow in his family’s cheesemaking footsteps and win the €30,000 Comté cheese prize – even though he has no idea of where to start. With an unfiltered realism, this debut features heartfelt performances by non-professional actors and real farmers, bringing raw authenticity to Courvoisier’s first feature film. Shot on location in the countryside of the director's childhood, and with her entire family contributing to the soundtrack and set design, Holy Cow is a beautiful ode to neorealist classics like Bicycle Thieves made fresh for modern audiences. Much more than an insight into rural life, HOLY COW pays tribute to community, resilience, love, and cheese curds in pastoral France.

A freak run-in with a black bear drives Michel (Franck Dubosc) off the road one wintry Christmas Eve, leading to the deaths of two strangers. Instead of reporting the accident, he panics and flees. His long-suffering wife Cathy (Laure Calamy, Antoinette in the Cevennes, AF FFF21), an ardent fan of crime novels, points out the obvious: with his prints all over the deceased’s car, suspicion will fall on him – and they can’t afford bail. When they discover two million euros and a gun on the bodies, their situation takes a dangerous turn. As another body surfaces, Michel and Cathy will stop at nothing to avoid suspicion, even if it means burying themselves in an avalanche of lies. Franck Dubosc’s black comedy, HOW TO MAKE A KILLING, is a journey full of twists where nothing is as it seems. As Michel and Cathy navigate ethical dilemmas and increasingly absurd situations, the feckless small-town gendarmes inch closer. But what if they’re closer to the sharp detectives in Cathy’s crime novels than they first appear? Leading from one improbable instance to another – and with bears technically non-existent in the Jura – how far will Michel and Cathy go to clear their names?

You’ve heard of cabin fever, but what about submarine fever? Lucas Bernard’s IN THE SUB FOR LOVE is a bold and hilarious romantic comedy that dives deep into love – and chaos. When Marco (Pio Marmaï, The Three Musketeers I & II, AF FFF24), a carefree steward, meets Marianne (Eye Haïdara), a serious, practical submarine officer, during a fleeting shore leave, their lives briefly entangle. But when Marianne accidentally leaves her necklace behind, Marco seizes the chance to return it – only to find himself aboard her submarine with no chance of escape! Can love flourish 500 feet underwater, or will their differences sink the sub? Like fire and water, Marco’s charm and easy-going savoir-faire clash with Marianne’s steely discipline, resulting in a laugh-out-loud odd-couple comedy. This French gem of a wildly mismatched love story navigates high seas, tropical storms, and even the Arctic, proving when it comes to love, even the steadiest course can veer off chart. With its vibrant colours and punchy humour, IN THE SUB FOR LOVE is a buoyant love letter to the screwball romantic comedies of the 1940s. Lucas Bernardʼs witty direction and the castʼs electric chemistry make it the perfect choice to close AF FFF on a high note. All hands on deck – don’t miss this heartfelt film!

Featuring a fantastic ensemble cast, the charming new dramedy by Blandine Lenoir (Aurore, AF FFF18; Annie’s Fire, AF FFF23) follows a young woman’s efforts to reconnect to herself and her family during an unexpectedly eventful trip home. When 35-year-old Juliette (Izïa Higelin, La Belle Saison), a children’s book illustrator, returns to her country village to spend some downtime with her loved ones, what she encounters is anything but low-key. Her harried elder sister Marylou (Sophie Guillemin, in a scene-stealing turn) is carrying on a “ one-day-a-week " affair with a man from the costume shop, her grandmother is becoming frailer by the day, and her long-separated parents are feuding – he (Jean-Pierre Darroussin) is kind but emotionally distant, she (Noémie Lvovsky) is wildly-revelling in the second act of her life as a single woman. As buried memories and long-held secrets stir to the surface, Juliette must grapple with how to remain connected to the fractured family’s story, and reclaim her own identity. Based on a graphic novel by Camille Jourdy (whose work formed the basis for the equally-winning hit Rosalie Blum), Lenoir’s gorgeous film finds pathos and humour in even the worst behaviours of her richly captured protagonists. JULIETTE is a gem to be treasured.

When champion boxer Souleyman gets in a bar fight on the eve of his Olympic Games début, it’s not just his dreams that are shattered. With broken knuckles and sentenced to 400 hours of community service at the decadent Château de Chambord, it looks like it's all over for Souleyman (Ahmed Sylla, The Climb). Stuck collecting rubbish and participating in cheap medieval reenactments, he is resigned to his fate until he is surprised by foster kid Mélissa (Mallory Wanecque, Beating Hearts, AF FFF25). Deeply troubled but blessed with an inherent gift for boxing, she might just be the ticket to Souleyman's official comeback. LIKE A PRINCE is a fresh, upbeat comedy from actor and first-time director Ali Marhyar. Filmed on location at Château de Chambord, the spectacular French Renaissance castle in the Loire Valley, LIKE A PRINCE proves that going from champion boxer to teen coach is harder than it looks. If Souleyman wants to convince Mélissa that her dreams are worth following, he’ll need more than just talk. When every punch counts, what kind of mark will Souleyman leave behind?

Penny-pinching Justine (Sandrine Kiberlain, November, AF FFF23) is sick of hustling. So when her boss, high-flying investor Franck (Daniel Auteuil, A Silence, AF FFF24), approaches her to organise a showstopping romantic weekend for him and the woman with whom he has fallen hopelessly in love, she jumps on board. What could possibly go wrong with €14,000 cash upfront and a weekend of romance? Given free creative control, Justine and her unemployed husband Albin (Denis Podalydès, The President's Wife, AF FFF24) devise the perfect solution: they'll give Franck their own profit-making version of the ultimate love boat experience. Engaging a motley crew of friends also keen to make a buck, they’re like Ocean's Eleven on a budget. But when Franck reveals that Justine is the woman of his dreams, it looks like this love boat is about to get a little crowded... LOVE BOAT is a hysterical comedy of errors from actor-director Bruno Podalydès that will have you laughing out loud at absurd disguises, misguided intentions, and chaotic schemes. Expect the very best of the worst – half bottles, cut corners, and special deals – all as long as it's not too expensive.

Ever dreamt of winning the lotto? Think again. When four people find their dreams come true, life finally feels perfect. But what if their luck is just about to run out? With dreams turning into nightmares and fortunes becoming burdens, this off-kilter comedy follows four interweaving stories in the wake of a life-changing windfall. Marriages are tested, friendships sour, and buried secrets are revealed, forcing the winners to question whether life really is better after the jackpot. From the award-winning duo who wrote The Shiny Shrimp, LUCKY WINNERS is the whip-smart black comedy from Maxime Govary and Romain Choay that pushes boundaries, and characters, to their limits. With its cast of French favourites including Audrey Lamy (The Kitchen Brigade, AF FFF22), Anouk Grinberg (Bonnard, Pierre & Marthe, AF FFF24), and Pauline Clément (Maria into Life, AF FFF23), this is one of the season's most surprising and hilarious films. The stories may be bite-sized, but these lucky winners are about to find they've bitten off more than they can chew. It will be sure to leave you questioning whether it's ever truly wise to look a gift horse in the mouth. Don't miss this deliciously subversive film. Get your tickets to this gripping black comedy now!

In the tradition of on-the-road dramatic comedies like Little Miss Sunshine, MEET THE LEROYS is the moving story of the veneer we paint over lost connections and a reminder that even the brightest bonds, like stars, can fade, despite our best intentions. Sandrine Leroy (Charlotte Gainsbourg, My Dog Stupid, AF FFF20) is bitterly unhappy. When she announces her intention to divorce her husband, Christophe (José Garcia), he is left reeling. With Sandrine set on separation and their children feigning ambivalence, Christophe has only one thing left up his sleeve: a surprise, nostalgic road trip weekend with the entire family. The deal? If Sandrine doesn't change her mind by the end of the trip, he'll let her go. But is one weekend enough to overcome years of stale marriage? And how can they rekindle the passion that once consumed them? Directed by Florent Bernard, MEET THE LEROYS won the Grand Prix at the Alpe d'Huez Film Festival for its sincere depiction of a family in crisis. Inspired by Bernard's own experience of his parents’ divorce and shot in Burgundy where he grew up, the film is a bittersweet exploration of the things we lose without realising.

Set in the picturesque Auvergne-Rhône-Alpes region, Eric Besnard’s (A Great Friend, AF FFF24) historical drama offers an intimate look at rural life where tradition and progress collide. In 1889, a rural village is confronted with something dangerous: the free, secular, and mandated schooling of the French Republic. Tasked with educating the village’s children, Louise Violet (Alexandra Lamy) faces a hostile reception. Fearful of change and distrustful of anything that might distract their children from farm work, the forceful mayor Pierre Lecomte (Grégory Gadebois, A Great Friend, AF FFF24) makes one thing clear: if she wants to win the villagers over, she’ll have to speak their language. As winter deepens and tensions rise, Miss Violet must confront a darker truth: while education serves as a bridge, some divides are personal. Facing the villagers means confronting herself, and some secrets can't stay buried forever. Louise may be the teacher, but she has lessons to learn too. What can the village teach her? Rich in costumes and natural, seasonal light, MISS VIOLET is a sumptuous exploration of how education can both disrupt and awaken. A simmering study of resilience, regret and opportunity, this film is a must-see for anyone who believes in the transformative power of education.

Just as Marion Cotillard was to La Vie en Rose, Golden Globe-nominated actor Tahar Rahim is to MONSIEUR AZNAVOUR, transforming into the iconic singer/songwriter for this lavishly entertaining rise-to-stardom biography of the man who beat all odds to not only become one of France’s best-loved entertainers, but personified French culture to the rest of the world. Born in Paris in 1924 as the son of Armenian refugees, Charles Aznavour’s formative years are spent in poverty, but distinguished by his parents’ passion for music and theatre. Ridiculed for his short stature and raspy tenor voice – traits he would in time fully embrace – Aznavour’s early attempts at a showbiz career during the Occupation falter. Whilst gifted, his material finds more success in the hands of others, including his friend Pierre (Bastien Bouillon), and later the imperious Edith Piaf (a scene-stealing Marie-Julie Baup), who becomes a highly influential mentor and supporter. But by the 1950s, Aznavour finally realises his own ambitions; his empathetic ‘chansonsʼ about the heartbreaks, confusions and passions of the common man (mining the dramas of his own life) catapult him to global attention. Led by its starʼs astonishing performance and stunning vocal prowess, MONSIEUR AZNAVOUR is a true tour de force – as intimate as it is spectacular – and serves as a triumphant reminder of the power and impact of music. Don’t miss one of France’s biggest hits of the year.

A sensation at Cannes and one of Franceʼs biggest box office and audience favourites of the year (achieving over two million admissions and entry into the top five of 2024), writer/director Emmanuel Courcol's wildly entertaining new film follows two very different siblings separated by fate and reunited by their love of music. Thibaut (the exceptional Benjamin Lavernhe, Delicious, C’est la vie!) is a beloved and internationally celebrated orchestra conductor who travels the globe. When a health crisis and subsequent DNA test inadvertently reveals he was adopted as an infant, Thibaut discovers the existence of a younger brother, Jimmy (rising star Pierre Lottin), who lives in more modest circumstances; he works in a school cafeteria, cares for his mother and plays the trombone in a community brass band. The pair seem to have little else in common other than a love of performance, but sensing his sibling’s exceptional talent, Thibaut decides to remedy the injustice of fate and try to help nurture his brother’s untapped gifts. An eruptive crowd favourite wherever it has premiered (notably receiving the highest audience score in the 51-year history of the San Sebastian Film Festival), MY BROTHER’S BAND is a rousing, feel-great trip to the cinema, expertly striking the perfect harmony between laughter and tears. Bring your family, your friends, and some tissues.

After establishing herself as one of France’s most popular and successful comediennes, the multi-talented Laure Calamy follows Full Time, AF FFF22, with another dramatic tour-de-force in writer/director Anne-Sophie Bailly’s deeply affecting debut. Calamy plays single, middle-aged beautician Mona, completely dedicated to 30-year-old son Joël (Charles Peccia Galletto), who lives with cerebral palsy. Joël works in a specialised facility and is secretly in love with co-worker Océane; while Mona knows nothing of their relationship, all is revealed when it becomes evident that Océane is pregnant. Océane’s parents and Mona are collectively stunned by the news, but the couple declare they are in love and determined to forge a life together. Mona finds herself torn between her son’s iron will, her maternal instincts and a suppressed desire to enjoy life on her own terms… Emotionally involving and honest, Bailly’s debut feature offers a moving observation of caregiving, inter-dependence and how society treats the rights of the most fragile. With Calamy excelling alongside her impressive non-professional co-stars, MY EVERYTHING is a stirring and resonant story of motherhood, compassion and acceptance.

Selected for Un Certain Regard at the Cannes Film Festival 2024, this powerful debut from Céline Sallette is an introspective spotlight on one of the contemporary world's most iconoclastic artists. From sculptor and painter to author and filmmaker, who was Niki de Saint-Phalle before becoming the woman who refused to conform? 1952: Fleeing an oppressive America in the throes of McCarthyism, Niki (Charlotte Le Bon) and her husband Harry (John Robinson) arrive in Paris ready to leave their past behind. Overwhelmed by motherhood and working as a model and actress, Niki hopes her bohemian life is enough to fulfil her – or silence the haunting episodes from her childhood. Just as secrets cannot be forgotten, talent cannot always lie dormant. When Niki is forced to face her demons, will she find something beautiful in the darkness? With an unflinching yet gentle eye, Salette sheds light on the archaic practices women were subjected to in the name of medicine, and their resilient, artistic triumphs in spite of it. An empathetic meditation on the pain we bury, NIKI is the biopic that proves that art can liberate us from the wounds that cut the deepest.

Straight from the 2024 Festival du Cinéma Américain de Deauville and filmed on location in Mauritius, Simon Moutaïrou’s powerful debut is an unmissable journey following those who dare to stand against injustice. In 1759, Mauritius is a profitable colonial outpost for France, but for Massamba (Ibrahima M'baye) and his daughter Mati (Anna Diakhere Thiandoum), it’s a living hell. Slaves on a sugar plantation owned by the ruthless Eugène Larcenet (Benoît Magimel, The Taste of Things, AF FFF24), they are the victims of brutal laws enforced under the guise of justice – even though Larcenet’s son Honoré (Félix Lefebvre) fiercely disagrees. In this world, disobedience means death. Yet Massamba remains blind to the growing resistance in Mati, whose salvation lies not in becoming a seamstress but in escape at any cost. When Mati flees the plantation, Larcenet calls on the uncompromising maroon hunter, Madame La Victoire (Camille Cottin, Call My Agent), a devout Catholic and Royalist, to bring her back. Aided by her militant sons, Madame La Victoire will bring Mati before God and the law – unless Massamba can reach her first. NO CHAINS NO MASTERS captures history with unflinching force – a festival experience for the big screen.

They might have been prodigies at home but at the Karlsruhe Conservatory of Music, they're nothing. Twin pianists Claire (Camille Razat, Emily in Paris) and Jeanne (Mélanie Robert) have been militantly trained by their father for one single goal: greatness. So when they find themselves under the tutelage of the tyrannical Professor Klaus Lenhardt (August Wittgenstein), they’re ready to be pushed to their physical and emotional limits. However the twins quickly realise that their biggest challenge isn’t the music or the gruelling regime – it’s each other. When Claire and Jeanne are diagnosed with a sudden aggressive and incurable illness, their sibling rivalry pales by comparison. The twins must decide: will they defy the odds and do whatever it takes to truly become prodigies? Based on an impossibly true story, PRODIGIES is an inspiring debut film by real-life brothers Frédéric and Valentin Potier. Premiering at the 17th Angoulême French-Speaking Film Festival, this stirring and emotional drama captures the pain of our ambitions, and what we are willing to sacrifice to achieve greatness. An unmissable film of passion, obsession, and sibling rivalry, this is France’s answer to Whiplash.

Retired French general François (André Dussollier, Everything Went Fine, AF FFF22) and his wife Annie (Sabine Azéma) have been married for five decades. Enjoying all the perks of retirement, François heads to the attic one day to declutter old boxes and dust off memories, only to stumble upon his worst nightmare: a stack of love letters revealing his wife’s affair from forty years ago. It's up to François to make the mature choice: does he turn the other cheek and let bygones be bygones? Or does he sharpen his wits and call in favours to track down the man who humiliated him? Hell-bent on the latter, François scours the Côte-d'Azur, determined to exact revenge – even if it means losing what he holds most dear in the process. It’s time for vengeance, French Riviera-style! This delightfully contagious comedy from director Ivan Calbéra (The Tasting, AF FFF23), proves you’re never too old for crazy acts of love – or payback. With stunning backdrops, a whole lot of heart and shenanigans a-plenty, RIVIERA REVENGE is guaranteed to make you both laugh and cry. No one ever said marriage was easy and who could resist retribution by the seaside?

Discover the true story behind the man who wrote The Little Prince. In 1930, Antoine de Saint-Exupéry (Louis Garrel, The Three Musketeers - Milady, AF FFF24), a pilot for Aéropostale, flies too high over Argentina's Andes, crashing into the sea. To his best friend, Henri Guillaumet (Vincent Cassel, The Three Musketeers - Part I & II, AF FFF24), he's just Saint-Ex, getting into trouble again. After being demoted by Aéropostale, which is also planning to lay off half of its radio operators – including Henri’s wife, Noëlle (Diane Kruger) – the two hatch a daring plan to save the business. But when Henri goes missing over the Cordillera, Argentina's enormous mountain range, will Saint-Ex defy all odds to bring him back? From French-Argentine director Pablo Agüero and selected for competition at the Namur International French-language Film Festival (FIFF), SAINT-EX tells the true story of defying odds in the name of friendship and loyalty. With sweeping, epic cinematography, this stunning film weaves adventure, brotherhood and ambition into a symbolic journey across Argentina’s mountain ranges. With high altitudes and high stakes, SAINT-EX is an exhilarating tale of courage, skill, and daring.

The remarkable Mélanie Laurent and Guillaume Canet take centre stage in writer-director Gianluca Jodice's transfixing historical drama, evocatively depicting the last days of the French Revolution and the fates of Marie Antoinette and King Louis XVI. 1792. The official Parisian residence of the king, the Tuileries Palace, has been stormed. Louis, Marie Antoinette and their children have been arrested and confined in a medieval chateau in the city centre. Far from the splendour of Versailles, where the family and their retinue had lived until only a few years earlier, they are vulnerable for the first time in their lives. While the King naively tries to keep spirits high and manners intact, his pragmatic and imperious wife is far more realistic about their predicament, and the destiny that likely awaits them… Drawn from the diaries of Louis XVI’s personal valet, this exceptionally crafted drama features not only marvellous production design and cinematography, but incredible costumes by twice Oscar-nominated designer Massimo Cantini Parrini. Dominated by the exceptional performances of its two leads, THE DELUGE is a compelling dramatic rejoinder to Sofia Coppola’s Marie Antoinette and Benoît Jacquot’s Farewell My Queen, which both depicted the royal couple’s lives well before the party was over.

Sumptuous, rapturous, and full of drama, Sarah Bernhardt’s life is here to be experienced in all its theatrical glory – just as La Divine intended. Sarah Bernhardt (Sandrine Kiberlain, November, AF FFF23) is larger than life and a cyclone of contradictions. The original theatre diva, her world is blinding stage lights, opulent wealth, and delicious scandals. Ruled by fleeting fancies and sweeping emotions, she even holds court from her sickbed. And what better time to revisit her groundbreaking 19th-century stardom than in recovery from surgery? Guillaume Nicloux’s decadent biopic is an experience like no other: from exotic menageries to consuming affairs, La Divine is as showstopping as she is capricious. Patron to Alphonse Mucha, friend to Victor Hugo, and “little star” to Alexandre Dumas, Sarah Bernhardt defied societal expectations, adored dramatic death scenes and scandalised her convent with a lizard’s funeral. Nicloux’s film vividly recounts Bernhardt’s tempestuous story and is a dazzling chronicle of a chameleonic actress who defined her generation. Uncover the life of the world’s first celebrity in THE DIVINE SARAH BERNHARDT.

Inspired by true events, Teddy Lussi-Modeste’s gripping new morality thriller – co-written by Venice Golden Bear winner Audrey Diwan – stars the exceptional François Civil (The Three Musketeers) as a dedicated young educator whose world is upended when he is accused of misconduct by one of his students. Julien (Civil) has recently commenced teaching at a middle school in the Parisian suburbs. Enthusiastic, likeable and extremely diligent, he is absolutely floored when informed that introverted teenage pupil Leslie (Toscane Duquesne) has alleged he attempted to seduce her during class. Knowing this to be false but hesitant to articulate why, Julien grows more anxious when he realises that the school executive is only expressing half-hearted support for him whilst it moves to protect itself. As pressure builds from Leslie’s imposing older brother and her classmates, and the discomforting ramifications of the accusation – and the motivations behind it –- spread into the community at large, both Julien and Leslie face not only hostility, but danger… Set within the microcosm of the school, but reflective of wider society, Lussi-Modeste’s enthralling, nuanced and conversation-starting film is an intelligent and highly believable exploration of the complexities of human behaviour in the post #MeToo era.

Premiering in the Un Certain Regard section at the Cannes Film Festival 2024, THE KINGDOM is a powerful debut film that is a rich and sensory experience – a must-see drama embodied by fierce, tender love. Corsica, 1995. Lesia (Ghjuvanna Benedetti) is desperate for a normal teenage life. However, amidst the island's gang politics, she’s not just the daughter of notorious mafioso – she’s a potential target. Taken from the beachside to an unknown villa, she is reunited with her father, Pierre-Paul (Saveriu Santucci), who is hiding from the police. As her summer holidays melt away, she is drawn deeper into his world of blood feuds and violent retribution. When all-out war erupts, Pierre-Paul and Lesia must go to ground, where they will face each other and themselves. With unflinching realism, THE KINGDOM is a powerful account of family bonds and gang violence, told by Corsican first-time director Julien Colonna and a non-professional cast. A peek into a turbulent world as seen through the eyes of a child, Colonna’s film never falls into caricature. Rather, it serves as a testament to the humanity found beneath the surface and the roles we are forced to play to survive.

Is it bad luck to rob a dead man if everyone wins? On one of Brittany's smaller isles, best friends Jean-Jean (Didier Bourdon, Promise at Dawn, AF FFF19) and Henri (Gérard Darmon, Employee of the Month, AF FFF22) find their quiet, ordinary life disrupted when a local claims the "hyper million" national lottery. Convinced they can rub shoulders, and euros, with the winner, the two set out, only to find that luck is already on their side – the local has died with the winning ticket in his hand! Armed with a spark of ingenuity and more than a bit of bad improvisation, Jean-Jean and Henri settle on a foolproof plan: a lottery scam with the whole village on side. What could go wrong? This sweetly hysterical film (a remake of the Irish classic Waking Ned Devine) from Hervé Mimran blends absurdity, heart, and a lot of mischief. Misfits Jean-Jean and Henri prove that you're never too old to raise a little hell. Set in stunning Brittany, this cast of colourful characters will steal your heart. A charming intergenerational story of what we can achieve as a community (yes, even fraud), THE SCAMMERS is a delightful romp for the whole family.

Inspired by incredible true events, acclaimed writer/director Pascal Bonitzer’s sharp and engrossing new social comedy follows a self-assured auctioneer whose professional and personal integrity is challenged by the discovery of a long-lost masterpiece. Paris, present day. Brash 40-something André Masson (César Award-winner Alex Lutz), a hotshot modern art appraiser at prestigious high-end auction house Scottie’s, receives word that a painting by Egon Schiele may have been found in a young factory worker’s home in the Alsatian city of Mulhouse. Though highly sceptical, André travels to view the canvas with his ex-partner Bettina (the superb Léa Drucker, Custody) who is also an expert valuator, only to be convinced of its authenticity as a masterwork long assumed destroyed by Nazi officials during WWII. For André, the ramifications of this once-in-a-lifetime find for his career and for his contentious relationship with his less-than-reliable intern Aurore (Louise Chevillotte), will prove both unexpected and transformative. Skilfully brought to life by an array of both endearing and duplicitous characters, THE STOLEN PAINTING is a thrilling exploration of the often-cynical world of art dealing and collecting, where the jaw-dropping prices aren't always related to the rarity of the object. It’s savvy and sophisticated entertainment.

Winner of three major awards at Cannes and Best Actor at the recent European Film Awards, writer/director Boris Lojkine’s propulsive drama follows a young courier as he races across Paris whilst preparing for a life-changing residency interview. Delivery workers have become an indispensable part of city life, especially since the pandemic. Among them is Souleymane (Abou Sangaré, in a commanding debut), who criss-crosses the frenetic Parisian streets in a constant race against the clock. He, like many around him, is working without permission, ‘renting’ his identity from a friend with legal status. But in just two days, Souleymane will learn whether his own asylum application will be approved or not. So, whilst striving to meet his delivery platform’s demands, he nervously practices for his interview, trying to keep his growing anxiety at bay… A major artistic highlight of this year’s Festival, Lojkine’s compassionate drama echoes not only Bicycle Thieves and the best films of the Dardennes, but also edge-of-your-seat thrillers such as Full Time (AF FFF23), and fast-became both a national talking point and word-of-mouth hit across France. Only adding to the film’s immense power is the real-life situation of its remarkable lead, who has already been denied citizenship by the French authorities. Three times.

One of France’s most beloved and awarded actors, the remarkable Daniel Auteuil is also an accomplished writer and director (The Well-Digger’s Daughter), and this engrossing new legal thriller finds him once again in outstanding form. Auteuil stars as Jean Monier, a well-past his prime defence lawyer who – ever since discovering he was responsible for a killer being exonerated – prefers to work as a prosecutor. But one evening he agrees to help his over-committed wife and fellow counsel Annie (Sidse Babett Knudsen, Borgen) by meeting with Nicolas Milik (Grégory Gadebois, Delicious, AF FFF21), a shell-shocked father of five who has just been arrested for the murder of his troubled wife. Milik’s predicament inexplicably touches Jean; the more he pieces together the case, the more he becomes convinced of Milik’s innocence. Soon Jean rediscovers his passion for his vocation and becomes obsessed with exposing the real killer. Characterised by typically first-rate performances from its stellar cast, this pulled-from-the-headlines drama – based on true events and adapted from the memoirs of lawyer-turned-bestselling author Jean-Yves Moyart –- is a gripping exploration of guilt, conceit and the slippery nature of justice. Packing a genuine punch, THE THREAD’s conclusion lingers long after the credits have rolled.

A poignant adaptation of Alice Ferney’s book L'Intimité, Carine Tardieu’s film is a meditation on beliefs and convictions, as well as the transformation available to us when we pivot and grow. Sandra (Valeria Bruni Tedeschi, Anaïs in Love, AF FFF22), a feminist librarian, is not interested in children. In addition to this ambivalence, she has vowed never to become a mother. When her neighbour Alex (Pio Marmaï, The Three Musketeers I & II, AF FFF24) asks Sandra to watch his six-year-old son Elliot (César Botti) while his pregnant wife, Cécile, gives birth, Sandra sees it as just a one-off – until Cécile tragically dies after labour. Caught between grief and a desire for connection, Sandra, Alex, and Elliot’s lives become entangled in unforeseen ways, creating bonds and challenges as they wrestle with evolving definitions of love. Tender and never didactic, THE TIES THAT BIND US is a powerful reminder that it takes many shapes to form a family. Expertly navigating unexpected connections and how they can subtly but profoundly shift our worldviews, Tardieu's masterful drama presents an empathetic, non-judgmental observation of all the ways we form attachments – and how love triumphs where we least expect it.

Winner of the 2024 Cannes Film Festival SACD Best Screenplay award and opening night film of the Director’s Fortnight section, Sophie Fillières' THIS LIFE OF MINE is a sharply funny and deeply resonant take on midlife crises. With her signature wit and humour, Fillières delivers a tender portrait of a woman navigating the chaos of family, work, and the absurdities of aging. Barberie "Barbie" Bichette (Agnès Jaoui, Place Publique, AF FFF19) is a woman under siege: her kids cringe at her quirks, her soul-crushing copywriting job barely inspires her, and her body feels like it’s rebelling. Caught between hot flushes and existential dread, Barbie stumbles through the comedy of life at 55, where every small struggle feels monumental. On the brink of her birthday, Barbie faces a choice: conform to society’s dismissive view of aging women or break free. What follows is a journey of rediscovery as she escapes to the Scottish Highlands to reclaim her spirit and sense of self. Equal parts poignant and funny, THIS LIFE OF MINE reminds us that midlife isn’t the end of the story – it’s just the start of a fabulous new chapter.

Emmanuel Mouret, award-winning director of Love Affair(s) (AF FFF21), returns to contemporary stories of love, loss, and entanglement with effortless aestheticism. Turning pain into beauty and the ordinary into tragedy, THREE FRIENDS is a study of the lies we tell ourselves and each other. Joan (India Hair, Annie's Fire, AF FFF23) is married to Victor, Alice (Camille Cottin, Call My Agent) to Eric, and Rebecca (Sara Forestier, Oh Mercy!, AF FFF20) is having an affair with the mysterious Mr. X. Their realities couldn't be more different: Joan isn’t in love with Victor anymore, what Alice has with Eric is nice enough but she’s only pretending, and Rebecca’s Mr. X happens to be Alice's husband Eric. Then Victor goes missing, and the three friends find their charades beginning to unravel. How much longer can the truth stay hidden? Tempted by desire and haunted by the fear of alienation, Mouret’s sometimes funny, oftentimes poignant film shows that betrayal is not a leap from a ledge, but a series of small steps along a secretly travelled path. Three friends, three lies, three truths – this is a compelling film you don't want to miss!

Direct from the San Sebastián International Film Festival, and winner of the Jury Prize for Best Screenplay, François Ozon's (Everything Went Fine, AF FFF21) haunting drama, WHEN FALL IS COMING, marks the director's return to his signature lyricism. In the depths of autumn in Burgundy, Michelle (Hélène Vincent, The Extraordinary, AF FFF20) spends her quiet, isolated life foraging in the undergrowth for mushrooms with Marie-Claude. When Michelle's acerbic daughter, Valérie (Ludivine Sagnier, Of Love and Lies, AF FFF20), drops her son off for the school holidays, Michelle hopes his stay will rekindle their strangled relationship. But when Michelle makes a mistake, she risks everything and her relationship with everyone. Alienated from her daughter again and shadowed by guilt, Michelle’s world turns bleak – until Marie-Claude’s son (Pierre Lottin) is unexpectedly released from prison. WHEN FALL IS COMING is an atmospheric film that maps our mistakes and our redemption, our second chances and changing seasons. Amidst the beauty of autumnal Burgundy, Ozon's film reveals a quietly menacing undercurrent. This darkness sets off a chain of startling events and highlights secrets, which like poisonous mushrooms, often lurk in plain sight.

Lino (Kad Merad, The Big Hit, AF FFF21), a Parisian lawyer fed up with his bourgeois life, is on the run. Suffering from a condition that makes him unable to lie, he has left everything behind to escape to the countryside. Infuriating his family, including his wife Léa (Elsa Zylberstein), Lino is searching for the meaning of life, even if it leads to unexpected places – and a musical number or two. Oscar-winning director Claude Lelouch directs this zany musical fantasy with an original soundtrack by Grammy-nominated producer Ibrahim Maalouf. A duet between trumpet and piano, this quirky genre-bending film is about how we fall out of tune with life and find harmony again. Lelouche deftly weaves together the many lives of Lino into a deeply inspiring tapestry of love, destiny, and staying true to your heart, whilst also throwing in touching and dramatic moments for good measure. Perfect for those wanting to laugh at the absurdity of life, AT THE END OF THE DAY will take you on a cinematic road trip through France's most beautiful regions. Don't miss this oddball classic from this beloved French director!

Q&A WITH DIRECTOR CHRISTIAN SCHWOCHOW PROUDLY PRESENTED BY THE HSBC GERMAN FILM FESTIVAL, IN COLLABORATION WITH THE GOETHE-INSTITUT. A portrait of a society torn between duty and conscience in the aftermath of National Socialism. In a small North German village, a drama plays out during and shortly after the Second World War about duty versus individual conscience and morality. Based on Siegfried Lenz‘ classic novel “Deutschstunde”. Christian Schwochow (*1978, Bergen auf Rügen, Germany) is one of the most influential German contemporary directors of his generation. His films and series explore themes of identity, historical responsibility, and moral conflict, often portraying individuals caught in larger socio-political forces.

From writer/director Frédéric Hambalek, this scathingly funny comedy of manners centres on a tantalising premise: what would you do if your daughter could suddenly read your mind? Well-off young parents Julia (Julie Jentsch) and Tobias (Felix Kramer) and their daughter Marielle (Laeni Geiseler) appear to be the perfect bourgeois Munich family. Yet behind the facade, trouble is brewing: self-important Tobias battles with self-doubt, and tightly-wound Julia is wrestling with her attraction to a colleague. The fragile balance of the family is shattered abruptly when Marielle reveals an unwanted new ability to her parents: she is now able to see and hear everything that they do. At first incredulous, Julia and Tobias quickly realise their lies no longer hold water. As their secrets and self-deceptions unravel - with increasingly awkward consequences – the two become more acutely self-conscious and their relationship reaches breaking point. Sharply executed, What Marielle Knows is a fascinating exploration of hypocrisies and contradictions, as uncomfortable truths are revealed.

Eleven-year-old Mona and her family have fled from Syria to Berlin. Her new public school is chaotic, the teachers are frazzled, and the students are frustrated. Mona can barely speak German and struggles to find her place in this new life. When Mona's special talent in football is recognised by one of the teachers, she lands a spot on the girls' football team. But she soon discovers that playing with the other girls is more difficult than expected and she remains an outsider. With a tournament approaching, the girls soon realise that if they want a chance to win, they will need to put their differences aside, stick together and work as a team. Winner of the 2024 German Film Award for Best Children’s Film, Winners is a charming and uplifting coming-of-age story about the importance of resilience, teamwork, friendship, and belonging.

From festival favourite Sönke Wortmann (How About Adolf?, Family Affairs), this third film reunites the stellar all-star ensemble including Iris Berben, Florian David Fitz, Christoph Maria Herbst and Janina Uhse, for an entertaining and biting comedy set in the picturesque Tyrolean Alps. When Anna and Thomas invite their eccentric families to a luxury ski resort for their wedding, their guests bring unexpected chaos with them. Invited to the wedding are Thomas' sister Elisabeth, her constantly nagging husband Stephan, and their teenage children Antigone and Cajus; as well as Thomas' mother Dorothea, who is in constant contact with her husband René. But the celebratory atmosphere is at risk as there is endless bickering and discussions about helicopter parenting, unexpected careers and troubles at work. It doesn't take long for the various family members to find themselves at odds with tensions beginning to rise as secrets, unresolved issues, and chaotic family dynamics all threaten to jeopardise the big day.

Written and directed by Ina Weisse (The Audition), this captivating and intimate drama direct from the 2025 Berlin International Film Festival stars the splendid Nina Hoss (Tár, The Audition) as a high-end real estate agent caught up in personal conflict. Isabell's (Hoss) life takes a turn when it becomes clear that her ageing parents need more assistance in their living arrangements. While searching for in-home help and navigating her complicated marriage to Philippe (Vincent Macaigne), she shuttles between Berlin and her parents' weekend house in a small Brandenburg village —a striking modernist home designed by her architect father. There, Isabell encounters the enigmatic Anja (Saskia Rosendahl, Fabian: Going to the Dogs), a single mother struggling to make ends meet. As Anja and her young daughter Greta weave themselves into Isabell's life, an unexpected bond begins to form. Yet despite a yearning for meaningful connection, Isabell feels increasingly uncertain about her meticulously planned life, sensing the ground shifting beneath her feet as she begins to lose control.

Celebrated auteur Matthias Glasner’s compelling drama Dying assembles an outstanding all-star cast led by the incredible Lars Eidinger as a successful, middle-aged orchestra conductor negotiating the chaos of his volatile private life. Berlin: Tom Lunies (Eidinger) is rehearsing a new composition titled Sterben (“Dying”) written by his troubled, highly-strung best friend Bernard. Though romantically involved with his assistant Ronja, Tom’s ex-girlfriend is about to give birth and wants him to co-parent the child. Hamburg: Tom’s younger sister, Ellen (Lilith Stangenberg), a dental hygienist, begins a frenzied affair with a married colleague with whom she shares a passion for self-medication and hedonism. Meanwhile, Tom’s ailing, sharp-tongued mother Lissy (Corinna Harfouch) is struggling to care for her husband, Gerd, whose mental decline is wreaking havoc on their quiet lives. Where are the couple’s two adult children when they are needed most? A masterpiece of shifting tonal registers, Glasner’s provocative, semi-autobiographical film treads the line between drama, tragedy and black humour, in an indelible, richly rewarding experience that was a sensation at last year’s Berlinale.

Direct from the 2025 Berlinale, where it celebrated its highly anticipated World Premiere in the Panorama section, Hysteria is a suspenseful behind-the-scenes conspiracy thriller from award-winning director Mehmet Akif Büyükatalay in his second feature. On the set of a film production about a real-life 1993 arson incident, a burned Quran is discovered on set by a driver. The film crew is thrown into turmoil, and the shoot begins to spin out of control. Caught in the crossfire of accusations, 24-year-old intern and second assistant director Elif (2025 European Shooting Star Devrim Lingnau, The Empress) is drawn into a dangerous game of secrets, lies and paranoia, finding herself at the heart of an all-absorbing conspiracy. Filled with incendiary tensions and unexpected twists and turns, this clever and provocative mystery reflects on contemporary issues and presents a bold exploration of chaos, identity, ambition and power. This is a thought-provoking take on present day German society.

Hildegard Knef: global star, style icon and grand dame of chanson, was opinionated, controversial and simultaneously an archetype and antithesis of her time. As an actress, singer and writer, Knef became a public figure in Germany at the age of 20 and never returned to anonymity. In 1951, a six second scene from the film The Sinner caused a nationwide scandal in the newly formed Federal Republic, when Knef’s breasts were visible on screen. After falling from grace, she pursued a career abroad and remained creatively active for over five decades, celebrating successes and experiencing crushing defeats. Published in 1970 and translated into 17 languages, Knef’s highly successful autobiography The Gifted Horse topped the der Spiegel bestseller list for six months. Marking the 100th anniversary of her birth in 1925, cinematic biography I Want It All showcases Knef's unwavering spirit and artistic brilliance using rare archival footage and interviews to present a portrait of a highly talented, ambitious and astute woman who showed the world how to survive fame and failure.

Directed by Joachim Lang (Mack the Knife) this cinematic, dance-infused tribute to the virtuoso choreographer who became a star on the world’s greatest ballet stages sees Sam Riley (Control, SS-GB) deliver a profoundly moving titualr performance. Prosecuted for homosexual activity in London, up-and-coming choreographer John Cranko (Riley) leaves for Stuttgart, Germany in 1960. A frenzied workaholic with a charming demeanour, Cranko swiftly revitalises the Stuttgart Ballet company, but his lifestyle attracts attention. After a controversial replacement of the prima donna and a series of new additions, Cranko's first production of Romeo and Juliet is a sensational success. He becomes the darling of the public and the ensemble is soon globally renowned, being invited to perform at prestigious venues like New York's Metropolitan Opera. Driven by a quest for perfection, Cranko grapples with destructive private setbacks amidst his meteoric rise. Featuring a dance ensemble of real Stuttgart Ballet members, this captivating drama deftly weaves together Cranko’s life and art in a tale of the highs and lows of the intoxicating limelight.

Hilarious and poignant, this feel-good dramatic comedy follows a group of friends across three years as they reunite at various parties, learning about true love, friendship and living life to the fullest. When Ellen attends her friends’ New Year's Eve party, she is keeping a secret: she is having an affair with the already-married Sebastian, whom she believes to be the love of her life. Meanwhile there is tension in the marriage of Mareike and Adam, and things are heating up between Rolf and Diana. As momentous occasions are celebrated, friendships and relationships are put to the test; there is love, arguments, laughter, tears, weddings, children, and while some people find each other, others separate. Directed by David Dietl (Berlin Bouncer) and featuring a stellar ensemble including Laura Tonke, Ronald Zehrfeld (also in Two to One), and Trystan Pütter (Toni Erdmann), Long Story Short skillfully weaves together humour and serious moments in a magnificent ode to life, love and friendship.

Direct from screening in competition at the 2025 Berlinale, the 2025 Festival will close with the intriguing psychological thriller Mother’s Baby, starring a captivating Marie Leuenberger. 40-year-old Julia (Leuenberger), a successful orchestral conductor, and her partner Georg (Hans Löw) have been longing for a child when the enigmatic Dr. Vilfort (Claes Bang), a fertility specialist with a private clinic, offers them hope. After successful treatment at the fertility doctor’s clinic, Julia becomes pregnant. However, when they return to the clinic nine months later, the birth does not go as planned and the baby is immediately taken away for additional treatment, leaving Julia and her husband in the dark about what has happened. When Julia is finally reunited with the child, she feels strangely distant and soon begins to doubt whether it is really her child and if something peculiar is going on at the clinic. Directed and co-written by Johanna Moder, this visceral tale of paranoia, ambiguity and maternal anxieties delivers enthralling thrills and sinister chills that will stay with you for days.

Directed by Marcus O. Rosenmüller (Wunderkinder), Münter & Kandinsky - The Blue Rider is a sumptuous historical drama and rich portrait of the complex relationship between Expressionist painters Gabriele Münter and Wassily Kandinsky. Extraordinary artists and passionate lovers, Gabriele Münter (1877-1962) and Wassily Kandinsky (1866-1944) were integral to Der Blaue Reiter (The Blue Rider), one of the most famous artist groups of Classical Modernism at the beginning of the 20th Century. Together they lived and painted in the Bavarian town of Murnau am Staffelsee. But while Kandinsky enjoys fame, admiration, artistic and financial recognition, Münter remained in his shadow. As she struggled with her own life and lack of success, their relationship became increasingly complicated and toxic. Starring Vladimir Burlakov (Deutschland 83) as Kandinsky and Vanessa Loibl as Münter, this gorgeous story of love and art based on true events centralises Gabriele Münter, exploring the untold chapters of her life, her love affair with Kandinsky, and her crucial role in the avant-garde movement that revolutionised the art world.

A smash box office hit in Germany, satirical ensemble comedy Old White Man, written and directed by Simon Verhoeven (Nightlife, Welcome to Germany), is a sharply observed, provocative exploration of exaggerated clichés and contemporary society’s generational and cultural divides. Middle-aged family man and advertising manager Heinz Hellmich (Jan Josef Liefers) is on a mission: to shed his image as an "old white man" and redeem himself at work to hopefully secure the promotion of his dreams. When his progressive boss and diverse colleagues accept his invitation to an intimate dinner at his home, Heinz sees it as the perfect opportunity to showcase his modern outlook on life. But as the evening unfolds, Heinz stumbles from one cringe-worthy faux pas to the next. When everyone is finally seated at the table, his family’s carefully curated facade begins to crack. With unexpected guests arriving and the night spiraling out of control, the dinner table discussion turns to sensitive topics and becomes a minefield of political correctness, clashing worldviews and awkward revelations, with comedic chaos ensuing!

Albrecht Schuch (Dark Satellites GER24, All Quiet on the Western Front) delivers a stellar central performance in Peacock, a biting satire about the essence of human relationships. Matthias (Schuch) is a master of his profession, the head of a successful Rent-A-Friend agency, playing any role in any situation his clients desire for a fee. Do you need a “cultured boyfriend” to impress your friends? A “perfect son” to influence your business partners’ opinion of you? Or maybe just a sparring partner to rehearse an argument? Whatever it is, simply rent Matthias. Business is going well, but while Matthias excels at pretending to be someone else every day, the real challenge is just being himself. Matthias’ curated and composed life begins to unravel as he struggles with his life and sense of self outside work, plunging him into an identity crisis. Written and directed by Bernhard Wenger in his feature film debut, Peacock is a pitch-perfect witty, existential black comedy with a touch of the surreal and sly social commentary.

Written and directed by the acclaimed Andres Veiel, this masterful piece of documentary filmmaking delivers a captivating insight into the private estate of Leni Riefenstahl, delving into her complex relationship with the Nazi regime. Considered one of the most controversial women of the 20th century as an artist and a Nazi propagandist, Riefenstahl’s films Triumph of the Will and Olympia stand for perfectly staged body worship and the celebration of the superior and victorious, while simultaneously projecting contempt for the imperfect and weak. During her long life after the fall of Nazism, she remained unapologetic, controlling and shaping her legacy, determined to uphold her ideals. Using materials from unprecedented access to Riefenstahl's private estate, including films, photos, recordings and letters, Veiel uncovers her life and artistic creations, and questions how Riefenstahl could become the Reich's preeminent filmmaker, yet continue to deny any closer ties to Hitler and Goebbels. Featuring narration by Andrew Bird and music by Freya Arde, Riefenstahl explores the enduring appeal of imperial greatness and Riefenstahl’s multi-faceted legacy in art and politics.

Adapted from the popular book series Die Chaosschwestern by Dagmar H. Mueller, this charming family film features a stellar ensemble cast that brings the beloved book characters to life. The Martini sisters Livi, Tessa, Malea and Kenny have very little in common. There are always differences of opinion and ambition: 15-year-old Tessa wants to become an influencer; 13-year-old Livi is an environmentalist; ten-year-old Malea is an adventure-seeker; and Kenny, the youngest, has an imaginary friend named Sashimi. One day, when their parents are out of the house, Paul the dancing penguin appears on their doorstep, and upon learning that he is in danger the sisters must embark on a wild adventure to save him from the cunning magician duo, Mary & Marc, and return him to his family at the zoo. The only way to succeed is for the chaos sisters to put their differences aside and work together!

Based on the best-selling novel by Carsten Henn, which was inspired by a real bookstore in Aachen, The Door-to-Door Bookstore is a charming and heartfelt ode to books and readers. Every day, in the back room of a bookshop Carl Kollhoff (Christoph Maria Herbst) carefully wraps books in paper to personally deliver to his regular customers in town. Books are the greatest joy of the shy older man, who lives for the printed word. Although he avoids contact with other people, he knows his loyal customers’ preferences and takes pride in selecting the perfect story for each of them. One day, curious nine-year-old Schascha follows him on one of his rounds and Carl reluctantly accepts the new companion. But Schascha quickly wins the hearts of Carl's regular customers and turns their lives upside down, while also helping Carl break out of his closed world.

At 67, Edgar (Uwe Ochsenknecht) is a successful German comedian. Every evening on stage, he charms audiences with his sharp wit about life’s later years—relationship failures, ungrateful children, fading desires, declining health, and the approach of death. But when the show is over and the laughter dies down, he is left to face his own loneliness. He tries to fill his empty evenings by numbing his feelings with drinks and short-lived flings. One day, his ex-wife Eva (Corinna Harfouch, also in Dying) appears unannounced at one of his performances. He has not had contact with Eva or their two adult children for 25 years. But soon Eva and Edgar begin to reconnect. Against all expectations, love rekindles between them and Eva decides to accompany Edgar on his comedy tour through Germany and Austria. Directed by Markus Goller (One for the Road, 25km/h) The Mystery of Love is a bittersweet tragicomedy about appreciating life and love, forgiveness and second chances.

Directed by Silvio Soldini, The Tasters is a gripping moral drama, adapted from Rosella Postorino’s bestselling novel, which was inspired by the incredible true story of Margot Wolk, one of Hitler’s food tasters. Autumn 1943. Fleeing bombed Berlin, Rosa (Elisa Schlott, The Empress, Das Boot) reaches a small, isolated village where her in-laws live and where her husband, who is on the front, has written to her to take refuge while awaiting his return. Rosa soon discovers that the seemingly peaceful village hides a secret: inside the neighbouring forest lies Hitler’s headquarters, the Wolf's Lair. One morning at dawn Rosa is taken, along with other young women from the village, to taste the Führer's food under the watchful eye of the SS and ensure it is not poisoned. Caught in a deadly daily game, the tasters begin to form alliances, friendships and secret pacts. Rosa, the outsider, struggles to be accepted by the others, and her situation is further complicated when a new SS officer begins to have feelings for her.

Based on incredible true events and featuring a stellar ensemble including Sandra Hüller (Anatomy of a Fall, The Zone of Interest), Max Riemelt, Ronald Zehrfeld, and Peter Kurth, German box office hit Two to One is a feel-good tale of friendship, family, money and justice. During the reunification process, in the summer of 1990, East German citizens had mere days to exchange their East German Ostmarks for new Deutschmarks, with the old currency about to become worthless. Taking advantage of the chaotic time, a group of clever East Germans discover a hidden stash of millions of Ostmarks and retrieve as much money as they can carry. With wit and skill, they hatch an elaborate scheme with their neighbours to capitalise on the find and outsmart the system. But things take a turn for the worse when money starts circulating that never officially existed in the GDR (German Democratic Republic). Written and directed by Natja Brunckhorst, this heartfelt story promises laughs and unexpected twists amongst a culture clash of capitalism and socialism.