The French film industry is buzzing with excitement as Goodfellas reveals its extensive slate for 2025, coinciding with the Unifrance Rendez-Vous in Paris taking place soon. This initiative underscores Goodfellas’ dedication to presenting a diverse range of French-language films that promise to captivate audiences both locally and internationally. With numerous films expected to feature in prestigious festivals like Cannes and Venice later this year, the slate holds great promise for cinema lovers.
One of the standout projects in Goodfellas’ 2025 line-up is “An Affair,” directed by acclaimed filmmaker Arnaud Desplechin. This film signifies a new chapter for Desplechin, who wrapped up his long-running character, Paul Dédalus, through the poignant narrative of “Filmlovers!” last year. The introduction of “An Affair” brings with it a fresh narrative and a new ensemble of talent, including rising stars François Civil and Nadia Tereszkiewicz, alongside veterans Charlotte Rampling and Hippolyte Girardot.
The plot follows a pianist, played by Civil, who embarks on a journey of self-discovery upon returning to France after a personal exodus. The encounter with a child who resembles him prompts reflections on his past love, offering a deeply emotional narrative that promises to explore themes of love, loss, and identity. As the film is currently in post-production, expectations are high, especially given the successful production house behind it, Why Not Productions.
Following closely is “Prime Rush,” which marks the directorial debut of Carlos Abascal Peiró after a string of successes in short films. Starring renowned actor François Cluzet, this film is set against a backdrop of political intrigue, taking inspiration from well-known political dynamics in France, particularly the frenetic pace of government changes under President Emmanuel Macron. The film centers around a young parliamentary attaché who must navigate familial and professional chaos in his ambition to influence his estranged father’s political fate.
What makes “Prime Rush” noteworthy is its blend of humor and satire; the narrative unfolds as the protagonist engages in outrageous tactics to elevate his father’s status, reflecting the often absurd nature of political maneuvering. The film not only aims to entertain but also resonates deeply with contemporary audiences living through a tumultuous political climate.
Goodfellas has also lined up several intriguing titles for the forthcoming Unifrance Rendez-Vous. Among these are “Oxana” by Charlène Favier, which paints a portrait of feminist activist Oxana Chatchko, and “Barbes, Little Algeria,” by Hassan Guerrar, a touching narrative about reconnecting with one’s roots during the pandemic. Favier’s previous work met with acclaim, and her new endeavor promises to shed light on significant socio-political issues while appealing to modern audiences.
Moreover, the slate includes “The French Job,” a gripping art heist film directed by Dominique Baumard. The diverse genres represented, from crime thrillers to poignant dramas, exemplify Goodfellas’ comprehensive approach to storytelling.
Among the gathered works, the emphasis on female directors like Lucile Hadzihalilovic and Rebecca Zlotowski highlights an encouraging trend in the industry. Hadzihalilovic’s “The Ice Tower” showcases Marion Cotillard in a surreal tale, while Zlotowski’s engaging psychological thriller “Vie Privée” fields an outstanding performance from Jodie Foster. Both filmmakers will be present at the Rendez-Vous, signifying the growing recognition of women’s pivotal roles in shaping contemporary cinema narratives.
Zlotowski’s film explores the complexities of grief and trust through a psychiatrist’s investigative journey, reinforcing the importance of personal storytelling in cinema. This focus on female-led projects adds critical depth to Goodfellas’ offerings, further establishing a platform for diverse voices in French cinema.
In addition to its robust French offerings, Goodfellas is also positioning itself on the global stage with a selection of international projects that aim to create waves throughout the festival circuit. Noteworthy titles include Pen-Ek Ratanaruang’s “Morte Cucina,” which dives into themes of revenge, and “The Carpenter’s Son,” directed by Lotfy Nathan, weaving together the childhood exploration of Jesus through evocative storytelling.
As these selections find their way into the festival landscape, they not only enhance Goodfellas’ catalogue but also serve as a bridge between cultures, showcasing a range of experiences and narratives from around the globe.
As the 2025 film slate from Goodfellas unfolds, it is clear that the studio is poised to make an indelible impact on both French cinema and the wider international landscape. By investing in fresh storytelling approaches and nurturing a diverse array of talent, Goodfellas is setting the stage for a year filled with engaging narratives that reflect the complexities of modern life, all while shining a light on visionary filmmakers reshaping the future of film. With the Unifrance Rendez-Vous just around the corner, anticipation is building for what this promising roster will bring to the screen.