The must-see films at this year’s French Film Festival
image still via Classe Moyenne
as told to daisy henry
General manager Marie-Hélène Predhom shares her top picks.
The beginning of the year is one long awards season. Between the Golden Globes, BAFTAs and of course, the much-anticipated Academy Awards, the first three months are purely for the cinephiles.
Though being tucked away in the Southern Hemisphere can feel like you’re missing out on the action, March marks another exciting event for movie buffs: the launch of The Alliance Française French Film Festival (AF FFF). Arriving in Australia from March 3 to April 26, the AF FFF is the largest celebration of French film outside France.
Interested to hear how others navigate the world? Head to our Life section.
Today officially marks the launch of the festival, with tickets on sale from February 5. The Fashion Journal team were lucky enough to attend the preview launch, where we got a glimpse at the lineup of films on offer, and a special screening of Classe Moyenne (which we naturally spent the car ride home analysing in detail).
However, working through all 38 movies is no easy feat, even for the most dedicated Letterboxd users among us. So, we decided to get on the front foot, asking Marie-Hélène Predhom, the general manager for Alliance Française de Melbourne, exactly which films should be at the top of our watch list.
From a social satire on class to a black-and-white adaptation of the famed Albert Camus novel, The Stranger, Marie-Hélène has rounded up nine of her favourite films below.
La Petite Dernière (The Little Sister)
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A moving, beautifully acted coming-of-age story and one of my personal favourites this year. The performances are extraordinarily authentic, building real empathy for a social and cultural environment I don’t often encounter day-to-day. Critics have praised Hafsia Herzi’s film for its emotional texture and its nuanced portrayal of a young woman navigating identity and desire. The Hollywood Reporter even called it “an instant queer classic,” noting its confidence, humanism and “stone-cold stunner” of a central performance.
Dossier 137 (Case 137)
Dossier 137 is a gripping and socially engaged police procedural that sheds light on contemporary French political and social tensions. What I appreciate most is how the film reflects on the real challenges faced by French society today.
Classe Moyenne (The Party’s Over)
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Another of my favourites. Classe Moyenne is caustic, funny and sometimes uncomfortably accurate. This social satire dives into class differences with both humour and bite, and I loved the sharp dialogue and the way it doesn’t feel exaggerated. The ending in particular is wonderfully quirky. Critics have highlighted its incisive look at class struggle, comparing its spirit to films like Parasite and praising its ensemble cast.
L’Affaire Bojarski (The Money Maker)
A fascinating, elegantly made period thriller about a brilliant but marginalised Polish inventor-turned-counterfeiter, which I’ve really enjoyed and learned a lot from. The chemistry between Reda Kateb and Sara Giraudeau is beautiful, and the film blends craftsmanship, suspense, and period detail with real charm.
L’Étranger (The Stranger)
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A gorgeous black-and-white adaptation of Camus’ classic, yet with a refreshing contemporary perspective. I loved how it remains faithful to the spirit of the novel while embracing a timeless cinematic style.
13 Jours, 13 Nuits (13 Days, 13 Nights)
Part action film, part documentary-style thriller, inspired by true events that resonate strongly if you’ve ever lived through high-risk embassy contexts. I was even evacuated once from Nigeria at the start of the pandemic, so its tense realism struck a personal chord.
Chien 51 (Dog 51)
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A dystopian thriller exploring the extreme consequences of AI-driven policing and social surveillance, themes that already feel eerily close to our present. It plays like an action film but asks real questions about algorithmic power. Reviews describe it as visually striking and fast-paced. If you enjoyed Blade Runner and Minority Report, this one is for you.
Gourou (Guru)
Unsettling in the best way, it raises important questions about the modern ‘coaching’ industry and the fine line between inspiration and manipulation. And of course, Pierre Niney is excellent. Critics underline the film’s strong direction and atmospheric tension, and praised Niney’s charismatic yet discomforting performance.
La Venue de l’Avenir (Colours of Time)
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A delightful back-and-forth between past and present, contrasting Belle Époque Paris with contemporary life. I particularly enjoy the gentle blend of nostalgia and modernity, and how the film celebrates Paris across eras. It’s been particularly well-received for its charm and inventive dual-timeline storytelling.
Find the full programme for The Alliance Française French Film Festival here.
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