Call My Agent: Andréa Steps Behind the Camera
The Call My Agent film has been on Netflix since September 10. Andréa moves from talent management to her first shoot as a director, changing the comedy's perspective.
The Call My Agent film has been on Netflix since September 10. Andréa moves from talent management to her first shoot as a director, changing the comedy's perspective.
Passing away at 77, Tony Gatlif leaves behind a unique body of work where music, exile, and Rom culture become a universal language. From Latcho Drom to Exils, his French cinema has crossed borders without ever being confined.
Premiering in competition at the Venice Film Festival, Bunker features Penélope Cruz and Javier Bardem in a thriller where the construction of a billionaire's refuge shatters a couple's certainties.
Nearly 20 million admissions in a month: French cinemas have just recorded their best August since 1980. Blockbusters, French films, and family audiences have built a rebound that resonates well beyond France.
French-Algerian filmmaker Tony Gatlif has died at 77 while working on a historical film in Arles. Through Gadjo Dilo, Latcho Drom and Exils, he leaves a global body of work in which music, exile and freedom gave visibility to lives too rarely seen.
Five years after ASK closed, Call My Agent returns as a Netflix movie on September 10, 2026, reuniting Camille Cottin and the original French ensemble for a worldwide audience.
From August 5 to 15, Locarno brings together 233 films and 103 world premieres. An edition where French cinema dialogues with Asia, Africa, and the Americas.
Three days before its opening, the Locarno Film Festival 2026 unveils a global lineup of 233 films and 103 premieres, featuring Virginie Efira, Olivia Wilde, Isabella Rossellini, and a spectacular French presence.
On the cover of the August 2026 issue of Vogue France, Adèle Exarchopoulos confirms an ascent that now transcends cinema and radiates in global fashion.
Canal+ commits to investing â¬980 million in French and European cinema between 2028 and 2032. Behind this spectacular amount lies a strategic battle over film financing, media chronology, and Europe's position against global platforms.
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