10 Best French Movies on Amazon Prime

In a world where mortality has been overcome, people watch in awe as the as the 118-year-old Nemo Nobody, the last mortal on Earth, nears his end. He is interviewed about his life, recounting it at three points in time: as a 9-year-old after his parents divorced, when he first fell in love at 15, and as an adult at 34. The three stories seemingly contradict each other. Utilizing non-linear cinematography, Belgian director Jaco Van Dormael presents each of these branching pathways as a version of what could have been. The result is a complex, entangled narrative. That and the movie’s ensemble cast, featuring Jared Leto, Sarah Polley, and Diane Kruger, have turned Mr. Nobody into a cult classic. The soundtrack, featuring several of the beautifully restrained music by Eric Satie, is also considered a masterpiece. While it is surely not for everybody, this is trippy, intimate, and existential sci-fi at its best.

Francois Cluzet, who you may remember from The Intouchable, plays a man whose wife is killed and is accused of murdering her. To make matters even more confusing, signs that his wife is actually still alive surface. This well thought out thriller is at all times the furthest thing from boring and has, among other great components, well crafted chase scenes as the protagonist looks for 8 years of unanswered questions.

It’s always fun to watch something that makes you second guess each move, that shifts seamlessly from one thing to another. Frantz is that kind of film, and as the deceptively simple premise unfolds—a widow befriends her late husband’s friend—you’re never really sure if what you’re watching is a romance, a mystery, or a sly combination of both.

It helps that Frantz is also more than just a period piece, packed as it is with tiny but thoughtful details. When it is filled with color, for example, it does so in the muted palette of 1900s portraits, making each shot look like a picture come to life. When it talks about love, it goes beyond heterosexual norms and hints at something more potent and, at times, political. And when it takes a swing at melodrama, its actors ground the moment with enough restraint and reserve so that it never teeters on excess. All this results in a well-executed, gripping, and overall lovely film to watch.

In Lyon, the second biggest city in France after Paris, a man confronts the church about a prominent priest who sexually assaulted him and his friends when they were young.

The man, being religious, wanted to keep the issue within the church. He only asked that the pedophile’s priesthood be revoked so that he doesn’t assault more children.

When it becomes clear that the church will not act, he considers legal action, even though the statute of limitations has expired. But, as is usual in these cases, he was far from being the only victim.

Despite being based on a 19th-century serial novel, Lost Illusions feels remarkably close to contemporary concerns about fake news and the devaluing of art for profit. But as the story is also, obviously, set in the 19th century, all this bribery and these backdoor dealings are done entirely through the written word and by sending runners from one Parisian theater to the next—and the result is uniquely thrilling. Nearly every character is a terrible person (like in an old-timey Goodfellas way) and it can get tiring seeing the film glorify their hustle, but the energy it brings is rare to find in any other period drama.

Demian Bichir was nominated for an Oscar for his role in this movie where he plays an illegal immigrant and father. You might be wondering “who is that?”, but trust me you won’t after watching this movie. The kindness, complexity, and authenticity he brings to this story are unparalleled.

A Better Life is about the illegal immigrant experience, about the line between the fear of being caught and the aspiration for a better future. It’s an excellent and important movie. 

This anthology of 18 short films — directed by the likes of the Coen brothers, Gurinder Chadha, Wes Craven, and Olivier Assayas — is a cinematic charcuterie board. Each director offers their own creative interpretation of one north star: love in Paris. Romantic love is heavily represented, naturally, but in diverse forms: love that’s run its course, dormant love in need of rekindling, electric chance encounters, and, apt given the location, honeymoon love. Segments like the one starring Juliette Binoche and Alfonso Cuarón’s five-minute-long continuous take opt to focus on parental love instead, with the former also exploring love through the frame of grief. 

If this all sounds a little syrupy and sentimental, fear not: there are dashes of bubble-bursting humor from the Coens, whose short stars a silent Steve Buscemi as a stereotypically Mona Lisa-obsessed American tourist who commits a grave faux pas in a metro station. Instead of sightseers, some directors offer more sober reflections on the experience of migrants in the city, which help ground the film so it doesn’t feel quite so indulgent. Still, the limited runtime of each vignette (sub-10 minutes) doesn’t let any one note linger too long, meaning the anthology feels like a series of light, short courses rather than a gorge of something sickly.

With plenty of old men having extramarital affairs, taking advantage of younger women and leaving them forlorn in love, it can feel deceptively easy to take sides in the first forty minutes of He Loves Me… He Loves Me Not. Who wouldn’t side with Angélique, especially with the innocent, childlike face of Audrey Tautou? And yet, when the twist occurs, the film fills the gaps in totally unexpected ways, gradually escalating to a terrible and sad conclusion about this seemingly romantic girl. It’s hard to further talk about He Loves Me… He Loves Me Not without getting into spoiler territory, so if this is the first time you’ve heard of the movie, go and watch it without any context.

This easy French rom-com from 2006 is about Jean, a poor barman played Gad Elmaleh, who lies about his profession to date Irène, played by Audrey Tautou.

Irène has the habit of dating wealthy men to fund her lifestyle, she quickly realizes that Jean does not fit that description. Determined to do everything he can to win her over, Jean himself starts dating wealthy women.

Priceless, or Hors de prix, is a fun and light romcom with excellent lead performances.

Why do we cling to the people that we love, but who clearly don’t treat us well? It’s a common question in romance films, one that often leads to a conclusion that people shouldn’t feel shackled to partners that don’t treat them right, but sometimes other films seem to shame these unfortunate lovers for making the wrong choice. My King doesn’t do that. Sure, Georgio can seem like an obvious asshole (he is), but writer-director Maïwenn makes clear that the same things that make him erratic– his spontaneity, his enjoyment of life, and his open acceptance– which Vincent Cassel superbly embodies, are also the same things that attracted Tony in the first place. And as Tony recovers her knee, the careful interstitching between her time at the center and her romance with Georgio visually parallels the physical and emotional wounds in an interesting way. Mon Roi is familiar romance stuff, but it’s the approach that makes the film work.