Indeed, whether it’s La Jetée’s 28 minutes of still photography, or the groundbreaking silent beauty of Le Voyage dans la Lune (A Trip to the Moon), French sci-fi has carefully found its place in the hearts of the genre’s fans. From animation to modern special effects, there’s bound to be something for everyone who’s willing to immerse themselves in these fascinating worlds at the expense of some subtitles.
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Gandahar: Les Années Lumière (The Light Years) - 1987
René Laloux’s best-known work is the sci-fi classic La Planète Sauvage (Fantastic Planet), an experimental animated film that’s more on the quieter side, and whose animation seems more in tune with the 70s. What makes Gandahar special is its more traditional setting of clashing species, foreign invaders, and a bit of time travel, as well as an art style that makes it possible to appreciate the mysterious planet even more.
Overall, the contrasting techniques used in each of his masterpieces only makes Laloux’s versatility more impressive. The English version of Gandahar is missing the original’s music and has a scene edited due to what was perceived as sexual content at the time. All things considered, it’s best to stick with the original French cut.
Avril Et Le Monde Truqué (April And The Extraordinary World) - 2015
Eclipsed by its American counterparts when it came out, April and the Extraordinary World’s plot plays on an alternate take on human history. In this version of the world, France’s last emperor, Napoleon III, was killed during his reign, preventing the Franco-Prussian war. This somehow led to scientific advances taking a big hit. The result is a hyper-polluted world with twin Eiffel towers, where the young April tries to continue the scientific legacy of her ancestors.
If the idea of a dystopian steampunk world where scientists are hunted down by authorities sounds appealing, then April and the Extraordinary World is a great pick. The film stars Marion Cotillard; nevertheless, the English dub is actually worth watching thanks to a solid cast of voice-acting veterans, while also featuring Paul Giamatti, Susan Sarandon, and J.K. Simmons in minor roles.
Chrysalis - 2007
Chrysalis can be described as a hybrid between Blade Runner and Eternal Sunshine of the Spotless Mind. It’s reminiscent of the latter due to its memory mechanics, yet for many, the main treat here will be the chance of seeing a futuristic rendition of Paris in 2025, which is not the typical city subject to sci-fi makeovers. The film’s aesthetic comes off looking a bit Minority Report, which is nothing less than a compliment.
Director and writer Julien Leclercq may lack the impressive legacy of some other French sci-fi names, but the film is still great at keeping the audience guessing. It packs several twists in its short 91 minutes runtime, following Lieutenant David Hoffman and his new partner Marie Becker.
La Cité Des Enfants Perdus (The City Of Lost Children) - 1995
This one is definitely no hidden gem, but the worldbuilding in The City of Lost Children makes it worth revisiting over a quarter of a century later. La Cité Des Enfants Perdus features a mad scientist as its primary antagonist, an aging man whose lack of dreams has put him on a path to perish more quickly.
His plan? Steal the dreams of random children he kidnaps thanks to a nearby cyborg cult. At least, that’s his plan until he kidnaps Ron Perlman’s little brother. Yes, one of Perlman’s first leading roles is fully spoken in French, even though the actor is not fluent in the language. Regardless, The City of Lost Children explores science ethics, family and more, all from the lens of a spectacular sci-fi movie.
La Mort En Direct (Death Watch) - 1980
This is another sci-fi classic, this time courtesy of director Bertrand Tavernier though based on a premise drawn out in the British sci-fi novel, The Unsleeping Eye by D.G. Compton. The film takes place at a time when humankind has practically eradicated most diseases. However, poor luck gives successful writer Katherine Mortenhoe only a few weeks to live, as well as the offer from a prominent network to record her journey towards death.
Katherine is tricked in more ways than one, in what Tavernier called an example of “the dictatorship of voyeurism.” Such a society is thirsty enough to exploit even the worst human miseries for money and entertainment. Death Watch is seen as an early omen for the reality TV that became so popular during the 2000s, as well as social media’s growing relevance in modern society and people’s willingness to expose their private lives. Like Gandahar, the English release loses a ton of film time, so it’s better to stick with the original cut.
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