In this wide-ranging interview with Alliance Française French Film Festival CEO Frédéric Alliod, we discuss how he builds the 2026 program in close collaboration with distributors, using both data and on-the-ground conversations to understand Australian audiences’ evolving appetite for French cinema. He reflects on the festival’s mix of ‘postcard’ France and more challenging films that probe contemporary social issues, highlights some of the titles he expects will surprise viewers and spark debate, and explains why he has opted for a slightly leaner, quality-focused line-up this year while positioning the AF FFF within Australia’s vibrant festival landscape.
Frédéric, this is your second year as the person selecting the films, but your third as CEO. What have you learnt in this role from selecting the films following last year’s festival? What have you learnt so far about the role, and about the Australian public’s interest in French cinema?
So it’s true that my role is very much one of governance. It’s true that I’m often asked about the programming side, which is a long-term endeavour, as it involves working in partnership with distributors in Australia and New Zealand. So it’s something that takes time. It takes up a lot of my time, but my role involves management, governance, and coordinating a network of Alliances Françaises, and so on, on a day-to-day basis. It’s not as glamorous as one might imagine. It’s very administrative – management, accounting, and so on.
But actually, when it comes to the programming side, it’s true that we look at the results. So on the one hand, when I choose the films, it’s really a dialogue with distributors—as they’re Australian, they know their market, so they know the festival. So it’s a conversation between them based on what they know about the market and what they know about the festival.
Then, it’s true that I rely on analytical data because, as a festival, we do have a fairly significant audience, but we have demographic data that’s quite precise, which we collect in various ways via our website, Google Analytics, our competition, Palace Cinéma, and so on.
So we have a fairly clear idea of the people who already follow us. Our audience is 77% Australian and 73% female. We know they’re what we call in France the ‘CSP+’ demographic – that is, educated, working, active people with fairly substantial incomes. Generally speaking, they enjoy lifestyle, fine dining, travel, and so on. So that gives us a sort of snapshot of our audience. It’s not the whole picture, but it certainly has an influence.
So we have a fairly clear idea of the people who already follow us. Our audience is 77% Australian and 73% female. We know they’re what we call in France the ‘CSP+’ demographic – that is, educated, working, active people with fairly substantial incomes. Generally speaking, they enjoy lifestyle, fine dining, travel, and so on.
Then there’s the sense you get when talking to our Australian audience, who are actually quite Francophile; through our festival, they love cinema itself, but also a certain image of France and the social experience. That little slice of France where you actually go to see a film with friends, having a glass of wine, sometimes enjoying a tasting. It’s a bit like a little taste of France. So it’s that whole package that appeals. Which means it does have a direct impact on the choice of films, actually.
So inevitably, yes, we have to admit that what we love about France is often a postcard image. You could call them clichés. I understand that because I’m guilty of it myself.
Perhaps before coming to Australia, you thought we were all tanned and that we all surfed.
Yes, exactly. And it’s only when you come and discover Australia that you realise there’s more to discover. And here, it’s the same principle: we’re probably attracting people based on the image they expect, but at least they’re coming.
And as long as they’re here, and the programme reflects that, along with everything we do to support the films—Q&As and so on—it’s great to say, ‘Now that you’re here, we’re delighted to have you, but why not try something different? France, yes, that’s part of it, but there’s more to it than that.’ And these films reflect social issues, a certain image of France in all its diversity – its people, its mix, its variety, its identities, and so on. Come and discover that too. Beyond the clichés, you’ll get what you expect, but if you really want to discover France as it is, there are films that capture that, and that’s what we’re offering.
Now that you’re here, we’re delighted to have you, but why not try something different? France, yes, that’s part of it, but there’s much more to it than that.
So to answer your question, we attract people with elements that have clear marketing appeal, because people come for specific reasons and that’s perfectly normal. But we keep them coming back through diversity, through different things that make them think, ‘Hang on,’ and if they’re won over, then we have a loyal audience who know what to expect. But if we want this festival to keep growing – given that we’ve seen a 6% increase in a market that’s down 15% – we draw them in with familiar attractions, but we keep them here with things yet to be discovered, hoping they’ll be captivated or surprised.
we’ve seen a 6% increase in a market that’s down 15% – we draw them in with familiar attractions, but we keep them here with things yet to be discovered, hoping they’ll be captivated or surprised.
Of course, the France France of today is not always quite so appealing, it’s not quite so straightforward. No, we don’t live in the world of “Emily in Paris” – I wish we did – but life is more complex, and our films reflect that. And the defining genre of French cinema is the comedy-drama, because in life, we laugh and we cry. And then, often, things aren’t black and white; they’re grey.
the defining genre of French cinema is the comedy-drama, because in life, we laugh and we cry. And then, often, things aren’t black and white; they’re grey.
Often the films end and we don’t know how it’s ended?
And that’s exactly it. You’re absolutely right. That’s what I was about to say. It can be disconcerting; it can sometimes frustrate our audience because they’re open endings and not happy endings. I’ve realised that the Australian audience needs closure, whereas we leave things open-ended, which can be frustrating because it requires projection.
You have to imagine what the ending might be.
Exactly. And the film is also a way for it to stay with us and to challenge us a little bit, that’s it, really. So it’s a balance we’re trying to find, but it’s true that there’s an audience that wants that too.
That’s why I always say the programming starts at Cannes. The festival ends in late April. Cannes is straight away in May, so I head straight to Cannes. There’s a large delegation of Australian distributors, so we watch the films together and give each other recommendations.
And we realise that the Cannes label, even with films that are potentially more challenging, works with an audience that is, once again, quite sophisticated, an audience that wants to see here in Australia what the world’s biggest festivals are selecting. So I can see that, since we’ve already started showing films that were at Cannes, very clearly, films that aren’t necessarily the easiest to watch.
we realise that the Cannes label, even with films that are potentially more challenging, works with an audience that is, once again, quite sophisticated, an audience that wants to see here in Australia what the world’s biggest festivals are selecting.
But there is clearly an audience that hopes, through us, to rediscover access to culture – to international culture, and sometimes to the most sophisticated culture. They want to access this through us, and the international reputation of the festival clearly holds a certain appeal for our educated, sophisticated audience, who want that too.
So, you said there will be films that spark discussion. Which films in this programme do you think will do that?
Some films, for example, are adapted from books.
Like The Stranger
Like The Stranger, it’s a novel with philosophical implications. It’s a film based on a book studied in philosophy courses on existentialism. So I think that for those who haven’t read the book, the film has the same impact. It’s a genuine cinematic experience.
For me, the film is a success because it stands on its own merits; in other words, it offers a genuine cinematic experience. The film works very well in its own right, but it will raise the same questions and motivations to understand the main character, who is difficult to understand. So it can spark a debate about what drives the characters to act as he does. So it’s a genuine intellectual challenge. I think it will be intellectually challenging and that it will provoke thought.
The film works very well in its own right, but it will raise the same questions and motivations to understand the main character, who is difficult to understand. So it can spark a debate about what drives the characters to act as he does..
Other films are going to be more about social issues.
Alpha peut être.
Ah yes, so Alpha, same thing, a film that was at Cannes. Now this is a metaphorical film. It’s a metaphor for the AIDS years. And actually, there are two things to it. So there is, in fact, this disease which is a blood disease, and people turn to stone. So it’s very clearly a reference to AIDS. And then there’s the journey of a person who is a junkie, who is an addict and who is viewed as a disease. So it’s true, in this case, that French cinema is often deeply rooted in reality, in society. In this case, it’s a very metaphorical film, which can be difficult to follow. But it does make you think, it allows you to speculate – I think everyone will have their own interpretation – but it will spark debate. It’s not necessarily a film for everyone. I love it.
it’s a very metaphorical film, which can be difficult to follow. But it does make you think, it allows you to speculate – I think everyone will have their own interpretation – but it will spark debate.
This director had already shocked with her other film Titane.
With Titane, she won the Palme d’or.
Other films which I find quite touching, and which certainly prompt us to reflect on life choices. One film, for example, which was also at Cannes – indeed, *Leave One Day*/*Partir un jour*. Similarly, a comedy-drama with elements of a musical, with some singing, so it’s potentially accessible; yet at the same time, the main character’s journey involves questioning their life choices – without giving the film away, of course – and this is done with finesse and sensitivity..
So there are plenty of themes and plenty of elements that, I think, can make you reflect on yourself, on life choices, on your feelings, and it’s done in a sensitive, nuanced way. I think a female audience can see themselves in this girl’s missteps; they can relate to her. And then, amongst a more male audience, some may relate to it, whilst others will gain an understanding of how certain women in these situations feel, because as it’s handled with nuance, it allows for empathy even if it’s something we, physically, cannot experience. At the very least, perhaps we can have a real start to a discussion on this subject. Whether we agree or disagree, the idea is to understand one another. And so, this is the kind of film that can spark debate.
I think a female audience can see themselves in this girl’s missteps; they can relate to her. And then, amongst a more male audience, some may relate to it, whilst others will gain an understanding of how certain women in these situations feel
So for those who want to try something that will surprise them, is it the same films that will spark debates?
So the films that are going to surprise, yes, we’ve spoken about Alpha. Once again, this is a film aimed at a very specific audience. But then again, for those who really want to be taken by surprise, yes, Alpha is very clearly unsettling.
So, there are also films based on true stories that have raised questions.
13 Days, 13 Nights, for example.
Actually, it’s interesting because it’s a bit of a Hollywood-style production. It’s by Martin Bourboulon, who made The Three Musketeers last year. So this one is quite fast-paced and based on true events. So we have quite a few films inspired by true events, for example. It’s quite a poignant film actually, and it’s a fine production.
And for an audience that might be wary of trying French cinema, I think it’s very accessible because it’s made to Hollywood standards, yet at the same time it tells the story as it is, plain and simple. Well, perhaps it’s the revelation of the facts that might come as a surprise, even if the film is, shall we say, Hollywood-style. All things considered.
For me, last year’s Elyas starring Roschdy Zem, I felt it was as if France was trying to make a Hollywood film. Everything was so exaggerated, and I really found it to be an action film, but I’m not used to seeing that from France.
Yes, indeed. So yes, we’ve got a science-fiction film this year too, Chien 51/Dog 51.
Yes, my partner is very happy.
Yes, but the thing is, you need that audience too. So these aren’t the sort of things you’d expect from French cinema. And this one, in fact, had a big budget and did well in France. A star-studded cast for those familiar with French cinema. So, actually, it’s a rather effective film in the science-fiction genre, one that fully embraces its identity as a science-fiction film.
Another film inspired by real events is The Richest Woman in the World starring Isabelle Huppert, which is interesting. They’ve changed the names, they’ve changed the company—it’s L’Oréal, but they’ve changed it because that’s not the point. So what’s surprising is that, when you actually watch the film, you see that, basically, there are parasites, or ‘pique-assiettes’ as we say in French, who, in this case, in the real story, are Liliane Bettencourt and a photographer called François-Marie Banier, who swindled her out of the equivalent of nearly 1 billion euros.
By pretending to be friends.
Exactly. But what we see in the film, actually, you might think it’s a bit far-fetched. No, it’s true, there’s a documentary on Netflix where you can fact-check it. It’s a documentary series, and the real reality is even worse. But that’s where the film is interesting because—and this is all down to Isabelle Huppert’s talent—we could easily become detached from this story by saying she’s very wealthy, basically she gets what she deserves, and so on. No, what we see is the portrait of a woman who is bored with life, who has lost her sense of purpose, who no longer has any bubbles in her champagne.
And well, it’s the story of a woman who starts living again and who actually realises she’s not all that, but who accepts certain things because she wants to rediscover meaning in life. And that, I think, is actually quite universal. So I think it’ll be interesting for an Australian audience because, as a result, it’ll still be quite universal.
The film Classe Moyenne/The Party’s Over, for example, is the same. It’s a comedy, but it’s a satirical comedy, a social comedy. The premise is quite well done. It starts with things that exist in France, with the relationships between employers and employees, and so on. And then it pushes things to the point of absurdity. But again, it makes you think. In other words, it’s not just a comedy for the sake of comedy.
In France, we call this a ‘poil-à-gratter’ (something that’s a bit of a thorn in the side). It’s because, at the same time, it’s unsettling. But even so, the film will stay with you because it will titillate you, it has something to say, and it really does make you think. Similarly, people might be expecting a comedy. It’s not a purely gratuitous comedy, no, but one that really makes you think.
In France, we call this a ‘poil-à-gratter’ (something that’s a bit of a thorn in the side). It’s because, at the same time, it’s unsettling. But even so, the film will stay with you because it will titillate you, it has something to say, and it really does make you think.
That’s what I’m trying to do – it actually ties in with another film that’ll be our Ladies’ Night this year: Cycle of Time/ C’était mieux demain. It’s a comedy, so it’s very much aimed at the general public. It’s frankly a mainstream comedy. The humour is sometimes a bit easy, but at the same time, it reminds you that there are times when there’s a certain conservative backlash, even in France – things were better yesterday. Hence the title C’était mieux demain (things were better tomorrow) You realise, yes, the 1950s were better. In the 1950s, things were easier.
For men!
Yes, that’s right. And so it’s the same thing – it’s a story that goes round in circles. So it’s a big comedy with obvious plot devices, but at the same time it has something to say, and that’s what’s important for me too. It allows you to reflect on things to a certain extent, but at least there’s something to take away from it. The reflection is more or less in depth, but in any case there are elements that make you think.
And you’ve also chosen two films starring American actresses: A Private Life and Couture. Is that because you think it will attract a different audience that doesn’t normally come to the festival? Or is it just because they’re films you’ve enjoyed?
Well, it’s a bit of both, to be honest. Indeed, do Jodie Foster and Angelina Jolie have potential appeal? Yes, so I’m not ignoring that, but in this case, Private Life is very good. It’s just a good film. So for me, not having seen this film, which is a lovely film starring Jodie Foster who acts and speaks without an accent.
Yes, I’ve seen the interviews with her, it’s impressive!
She studied at a French school, and so on. So she speaks like a Frenchwoman. So the film is very good. And Jodie Foster is the best possible ambassador for the French-speaking world for a festival organised by the Alliances Françaises. So I mean, for me, it’s not even a question of whether it was necessary. So I imagine, people will like it. And I think people won’t be disappointed because the film is very good.
Jodie Foster is the best possible ambassador for the French-speaking world for a festival organised by the Alliances Françaises.
The film with Angelina Jolie (Couture) is perhaps a little more difficult to access compared to what one imagines the film to be. Because, in fact, it’s a film with elements. Angelina Jolie in a film set in Paris during Fashion Week.
With characters who aren’t connected at first but become connected at some point?
Exactly. And actually, in the story, we follow four characters of varying importance. The main one is Angelina Jolie. But really, it’s about these women’s stories. Angelina Jolie – basically, and this isn’t a spoiler – finds out she has breast cancer.
I think it’s even in the trailer.
Absolutely. Yes, exactly. So we’ll be following her journey. Then there’s a make-up artist who wants to become a writer, and in fact, these are stories, portraits of women trying to find their voice.
And for me, the film is entirely in line with the festival’s editorial vision. For us, it’s an important subject, once again because these are values we champion. Once again, it’s important for us to have films directed by women or featuring strong female characters, knowing that our audience is predominantly female, so we take that into account, but we’d do it anyway. I think this aspect is very strong. So for me, this film deals with subjects that are entirely in line with the festival’s editorial focus. So you might come for the glamour, but you’ll watch the film because these are stories that will move you. The fact that Angelina Jolie is in it—she speaks French for a good part of the film. So, again, it’s the Francophonie, but it also features stories that are ultimately very French yet international, which means that we –
can understand them.
Exactly. It’s about bringing our culture and our unique characteristics to the table, but the whole point of this approach is to say, ‘Yes, it might be very different. But fundamentally, I understand because illness affects everyone.’ Or questioning things and the choices we make in life. What I was saying – “did I make the right choices?” – is universal. So the way they approach these subjects will be very French, but the approach itself might be universal. ‘Yes, actually, over there in France, it’s just like for us, it’s in our own way, but we have that.’ So the idea is to say, look, what unites us as human beings?
We might, culturally speaking, do things differently. It’s interesting, it’s inspiring. We might say to ourselves, ‘I wouldn’t have done things like that at all, I don’t understand.’ So I would have done the complete opposite, and we’d say, ‘Oh, well, look, they do it like that; I wouldn’t have thought so because I would have reacted the same way too.’ It’s just being human, beyond being Australian or French, etcetera.
It’s just being human, beyond being Australian or French, etcetera
So the idea is to entertain – I hope, at least – to challenge people a bit now and then, and in any case to introduce them to new things and then make them think, ‘Well, I’ve had a good time, but I’ve had more than just a good time.’
I have already seen a few films from the festival. On an Emirates flight last year, I treated myself to a mini French film festival. I’ve already seen *Bon voyage Marie* / *On ira*. I quite liked it. I like the actor Pierre Lottin, even though I feel he’s always given the same sort of role – someone with problems, who’s a bit lower down the social ladder. But he acts well.
But he acts well. So he’s in several films this year, and it’s true that we see him in a lot of films, and he does indeed play the middle-class Frenchman, a bit cheeky as they say, with a working-class manner. There you have the man of the people. So, yes, he does tend to play the same roles quite often, that’s true, but well, he does it well.
But the same goes for Bon Voyage Marie; the film is accessible. It’s still a rather entertaining film, but it tackles a serious subject: assisted suicide.
It’s funny, but at the same time serious.
This is actually a debate that hasn’t even been settled in France. If she goes to Switzerland for assisted suicide, it’s not a given, but it’s a real issue that’s worth discussing. So, in the same way, it’s a platform for discussion – so spend some time on it, but perhaps it can also be a topic for discussion. So it all comes back to the same principle. And quite clearly, I think the Australian audience—at least those who are willing to engage with and experience this—are receptive to it. And we’ll have Q&As and panel discussions…
These events that will take place after the film, just like last year.
Exactly. So really, we’re a film festival, but we’re also a platform for social connection. Once again, people come with friends, we have moments of socialising, but we’re also a platform for cultural exchange and even—I’ll dare to say it—debates of ideas, why not. That is to say, and that’s what I want us to be. And the programming takes that into account, bearing in mind that after a while, after 37 years, it’s true that that’s also what people expect of us.
the programming takes that into account, bearing in mind that after a while, after 37 years, it’s true that that’s also what people expect of us..
I have a legacy that I take into account. And I’m not trying to start a revolution. I hope we’ll attract a wider audience. To be honest, we’re finding it hard to draw in a slightly younger crowd. I do think that tastes do change as you get older.
I have a legacy that I take into account. And I’m not trying to start a revolution.
Then you have to take into account how the way we consume culture via our phones has changed, and how our attention spans have shifted. For example, I was reading an interview with Matt Damon about Netflix where he talked about The Rip, which is an action film he made with Ben Affleck. Why am I mentioning this? Because it’s very recent and it struck me. He said, ‘There’s a way of producing for Netflix where there are certain conventions in the story; you’re obliged to repeat the plot at least three times at some point in the film, because people are on their phones at that moment and you need to do so otherwise…’
So we need to take these developments into account in our event, and also a form of resistance to them. That’s why we have a whole programme of school screenings. We need to understand that the world is changing, that the dynamics are changing. I’m affected by it myself; I realise I’m having difficulties reading that I didn’t have before. I’m affected by it. So, against all odds, we still have to ensure that this offering is available.
So, we work with schools because it’s important to do so. I choose certain films which, I hope, will attract a younger audience, though it’s more difficult. But I think it’s beneficial. Their tastes will evolve, but there will be a change and that’s important. And we can see that it can work after all.
There are films, once again, that are quite niche, and I can see how they work. *Taste of Things*, Tron Anh Hung’s film about gastronomy, which goes completely against everything you read in *Anatomy of the Script* and all the films and books by Hollywood’s leading screenwriters. The film does the exact opposite of everything, and yet it worked very well because it was an experience, and so on.
We need to keep offering things that go off the beaten track, because it’s important for the diversity of cultural offerings, to challenge ourselves a little. We can’t always stay within our own community, playing it safe, and so on. So, for me, there’s also an act of resistance in continuing to offer this, and in offering it not just in the big cities.
We need to keep offering things that go off the beaten track, because it’s important for the diversity of cultural offerings, to challenge ourselves a little. We can’t always stay within our own community, playing it safe.
To hold the festival in provincial towns, a smaller-scale version so we can at least offer that. So I’d like us to be more appealing. Last year, Beating Hearts/L’amour Ouf – it’s true that was also intended to attract a younger audience. It worked to some extent, though not as well as we’d have liked. But we’ll keep doing it because we have to, because otherwise it’ll be lost and it’ll be lost for good. But it’s not all plain sailing.
Obviously we want to attract new people because we want the festival to grow. But it’s not just that; there’s a real positioning at play. That’s true for us and it’s true for other festivals. I’m saying that’s not necessarily what makes us unique. And I pay tribute to all those festivals that exist in Australia.
Because there are more and more of them, especially in Sydney: there’s Antenna for documentaries and Europa Europa, which is now in more and more cities.
The Sydney Film Festival, the Adelaide Film Festival, the Melbourne Film Festival, the Perth Film Festival—all these festivals. And that’s very important. And I think that’s actually quite interesting; I don’t think I’ve ever seen so many festivals—the country is very, very big.
Even if the population isn’t.
Yes, indeed, and that energy is particularly evident. So, you might say you’re competing with others. No, because with this cultural offering, we’re stepping away from our individual screens and sharing an event with other people.
you might say you’re competing with others. No, because with this cultural offering, we’re stepping away from our individual screens and sharing an event with other people.
So Fringe is brilliant, and it’s absolutely essential. And Australia does that very well. And once again, the success of the French Film Festival is part of that momentum. The cultural offering at festivals and cultural events which is vibrant in Australia. It’s significant; it creates opportunities. So we too are benefiting from this dynamic; I hope we’re contributing to it, but we’re also reaping the rewards, and that’s extremely valuable. Australia needs to keep doing this for cinema, but for all aspects of culture. And that’s wonderful, and not everyone is lucky enough to have that.
The cultural offering at festivals and cultural events which is vibrant in Australia. It’s significant; it creates opportunities. So we too are benefiting from this dynamic; I hope we’re contributing to it, but we’re also reaping the rewards, and that’s extremely valuable.
And I can tell you that, having been to many countries, this is a real asset and a real blessing for Australia. And it’s unique to Australia. And if these festivals are so popular, it’s because there’s a vibrant cultural scene that’s part of Australia’s richness and part of what the country stands for. And it’s very distinctive. And I can tell you that not everyone is lucky enough to have access to that kind of cultural diversity, like we do in Australia.
And I can tell you that, having been to many countries, this is a real asset and a real blessing for Australia. And it’s unique to Australia.
This year the program has 38 films. Last year there were 42. Is there a reason that there are less films this year?
In fact, there are more than I wanted. I wanted to reduce it a bit. Last year, it was my first edition so I wanted to stay at the same level. Then I look at the line-up because, quite clearly, some films do very well, while others do extremely well. Do we have too many films? Not everyone can go and see 42 films, and so on. So for me, it’s the quality of the programme that counts. That’s why I wanted to reduce the number.
It’s the quality, not the quantity, that counts.
Yes, exactly. So that’s the most important thing. So there was a real editorial choice involved. In fact, I initially wanted to have even a few fewer films. And then, as it’s a relationship with the distributors, there are actually certain films where I think to myself, ‘Well, I can’t pass these up, they’re worth it.’ So I take them on anyway, even if I wanted to show fewer films—some because I fell in love with them, others because these are discussions I can have.
So in the end, I’ve got even more films than I want, than I’d hoped for, but I’m happy, that’s it. I think having 35 or 38 films, something like that, is fine; it has to remain a festival. But I don’t think we needed 42 films either. I think that was too many, and then there’s always the possibility of having very good years where there are loads and loads of good films at the same time, and that makes for slightly more difficult years. So we’ll work with what the state of production has to offer at any given time.
So in the end, I’ve got even more films than I want, than I’d hoped for, but I’m happy.
But, in this particular case, I could have done more. No, there are films I turned down. For example, I felt they were too similar.
To the subject matter of another ?
Yes, there are – I won’t say which film – but at one point I thought, right, it was even borderline with the same actors. I just didn’t see the point. And I had to choose one because both films were actually quite good, mind you. But anyway, at a certain point I said, ‘Right, you can’t be too greedy.’ So there you go.
I know that The French Job/Les Règles de l’art, is based on a true story, but it’s very relevant given what happened at the Louvre.
So Les Règles de l’Art—indeed, there was a combination that worked well. That is to say, it was a film that was half-comedy, half-thriller with a touch of drama, but it also resonated with the associations we have with France. Well, there’s France, there’s romance, there’s gastronomic culture, and within culture, there’s also art. So here, effectively, we’re talking about the art world, and so on. So there was a sort of good connection. But when we selected it with the distributor from New Zealand – who, incidentally, had screened it at his festival in New Zealand before us – we realised it was doing pretty well even before it was released. That was before the Louvre incident, so when I said yes, it was based on certain criteria, and then the Louvre affair happened, so it became a topical issue.
That was before the Louvre incident, so when I said yes, it was based on certain criteria, and then the Louvre affair happened, so it became a topical issue.
So I think there will be genuine interest. And I can see that straight away. Indeed, I can tell you that the public is interested in the film. So, current events have caught up with us, but I didn’t select it because of current events. I’d selected it beforehand because there were things that made sense and, indeed, in New Zealand, the film in question had proven its worth.
How many films do you think you watched over the year to decide whether or not to include them?
Well, I don’t know exactly, but I must have seen perhaps 70, I think. I haven’t actually counted them.
So you chose half of them.
Yes, there are films that certain distributors send me to ask for my opinion. And I do the opposite. I go based on what I know about the festival, I watch films and then I make suggestions to distributors. What do you think of that? I think it can work. So, with one or two films, actually, it was me who has gone to see them and said ‘I just have to have this one.’ And then we either agree or we don’t…
Others weren’t selected at all, and then I chose them myself. That’s what we usually do with the closing film. Generally, the closing film is one that hasn’t been bought by a distributor, but we believe in it anyway. Rodrigue in Love/Avignon, for example. Similarly, it’s a romantic comedy, so actually it could work. What’s more it take splace during the Avignon festival. So again, it’s associated with two postcard ideas because France has romance and culture and the arts. Here, it’s a romantic comedy during the Avignon Theatre Festival.
That’s what we usually do with the closing film. Generally, the closing film is one that hasn’t been bought by a distributor, but we believe in it anyway
So for me, it made sense. Plus the film is nice and it’s a nice way to finish [the festival]. We try to finish on a light note.
What film would you recommend for those who want to travel from their cinema seat?
Well it’s difficult to answer because, actually, travel is a theme for me this year. We are going to travel this year. So, that influenced some of my choices because I thought to myself that there was a real theme to it: ‘You know what? We’re going to take a journey through French cinema.’
Normally, we choose recent films and the idea is really about diversity, creativity, quality. But I realised that this year there was travel, we travel geographically, and we travel through time. So, I decided to go ahead and do it anyway, because there are quite a few. It just so happens that I have quite a few films where we go on a journey. We’re off to Egypt in Treasure Hunters, a sort of French-style Indiana Jones. But I like it because it’s a very family-friendly film and we get to visit Egypt – same thing.
I realised that this year there was travel, we travel geographically, and we travel through time.
Is it a film for kids? Or something that adults will also appreciate?
I think it’s for everyone. It really is one of those films you can watch as a family, and what’s more, it’s about archaeology, so we’ll learn about Egyptian culture and go on a journey with them. So for me, too, it’s an accessible film where you learn something.
We’ll be travelling to Afghanistan with 13 Days 13 Nights, we’ll be travelling to the US with Guru, the thriller set in Las Vegas and the world. We’ll travel to Morocco with The Rookie Guide/Le Routard. It amuses me because we have Le Routard in France and you have Lonely Planet. Here we’ll visit Morocco with the world’s worst guide, we’ll travel to Algeria with The Stranger/L’étranger, we’ll travel to Taiwan with Redress/La Reparation, which is our Taste of France film.
So it turns out I have loads of films where we travel; we’re going to Switzerland, we’re going to Spain with Dash of Love, and we’re going to Italy with What is Love. So very clearly, this allows me to highlight two things.
On the one hand, France remains the world champion of international co-production. I mention this particularly because we have a very long-standing co-production agreement between France and Australia. And there are ongoing discussions to bring all that up to date. It hasn’t been done yet, but it’s a real issue. So for me, it’s the right timing at the right moment, because it’s a topic of discussion.
On the one hand, France remains the world champion of international co-production.
And then, which helps to explain once again this universalist aspect – that we’re able to tell French stories abroad, or stories set abroad – but essentially, our stories transcend our borders. Once again, that’s the message we’re trying to convey. And then through time, because I find that costume dramas are indeed a very popular genre – Jean Valjean, of course, but this year’s opening film, for example, *Colour of Time*, takes us back to the time of the Impressionists. There are beautiful costumes, images of Paris, and so on. We get to discover the world of the Impressionists.
we’re able to tell French stories abroad, or stories set abroad – but essentially, our stories transcend our borders.
That’s why I chose it. We’re literally going to travel to that world. It takes us along with you. So it’s a real experience, the way the film is made, and so on. And then it’s one of those things people expect from France, but it’s done well.
And then we’re going on a journey into the future for once with Dog 51, which we never do. We’re going to travel with Cycle of Time/C’etait mieux demain.
Indeed, we will travel a lot!
Yes, it’s true that it’s something I wasn’t aware of at the start. And there came a point where, once I’d realised that, I made a few choices that naturally followed. Kheops or Le Routard, for example, are films I really chose to play with that theme.
That’s interesting. This year, there aren’t any films that aren’t from France. I think last year and the year before, there was a Canadian film on the programme. This year, I believe they’re all French films, even if we do travel within the films.
No, actually, it has to do with the fact that because, once again, the distributors haven’t bought any. I was also looking for a Swiss film, but we couldn’t find one; or at least, there was one we had in mind, but it was going to another festival.
It’s difficult to find a distributor who’ll buy it.
Yes, indeed. So I make very few direct acquisitions for budgetary reasons. So we’re beyond just a French film festival or a Francophone festival. On the other hand, we have co-productions; we have a lot of co-productions with Belgium, for example. The Great Arch/La Grande Arche, for instance, is a co-production with Denmark, so there you go. But as for films from other countries, we’re not at all opposed to the idea, provided the language is French in this case. It’s true, this year, we haven’t got any.
And one last question: the former artistic director of the festival, Karine Mauris, said she realised she was selecting many of the same films as the Angoulême Festival. Have you found that there’s a festival in France with somewhat similar tastes, from which you end up selecting many of the same films without meaning to? Films at Cannes obviously.
Cannes, quite clearly, we have 14 films this year that were at Cannes in one way or another. Then, yes, Angoulême is interesting because it’s the Francophone film festival, so that helps attract attention.
There are other festivals I keep an eye on too, the Alpe d’Huez festival for example, because it’s comedy, a genre that works. So I look at what’s happening at Alpe d’Huez. If there are three festivals I keep an eye on—because I follow French cinema—it would be Cannes, Angoulême, and indeed Alpe d’Huez. I also keep an eye on what’s happening in Toronto, and then Berlin and Venice, but they come a bit later.
Even Angoulême, I think it’s in October?
Yes, that’s right. So yes, it really is at the last minute because I finish my programming in October or November.
So it’s a bit tight.
Exactly. But in any case, it tells us what to watch. Then, from time to time, I see films and I’m not entirely convinced by what I’ve seen.
But for example, if many of the films you’ve chosen have been nominated for César Awards, is that a bit of a confirmation that you’ve made the right choices?
That’s a good question. The thing is, at a certain point, you’ve got experience. Again, it’s informed intuition, based on tangible evidence.
You know the Australian audience.
Exactly. We look at what’s doing well at the French box office. We look at the reviews, we look at the reaction at festivals, so that gives us quite a lot of information. So at a certain point, we can still see that there are certain films that stand out. So we say, ‘These films…’ It’s not always obvious, but sometimes there are things that are totally surprising. Then there are things we see coming a bit, that’s it.
And then sometimes it’s a stroke of luck; we took a gamble, and then in the end, yes, that’s what the critics are like too. So it’s a mix of different things. It’s not an exact science, but I’d say it’s informed intuition. Sometimes the informed part was right, purely statistically. Every now and then, it’s intuition that works, and every now and then, we’re lucky, we get lucky.
It’s not an exact science, but I’d say it’s informed intuition. Sometimes the informed part was right, purely statistically. Every now and then, it’s intuition that works, and every now and then, we’re lucky, we get lucky..
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We thank Frédéric Alliod for this interview and cannot wait to go to the Alliance Française French Film Festival 2026.
The Alliance Française French Film Festival runs from 3 March – 26 April nationally. To view the full program or to secure tickets, visit affrenchfilmfestival.org
KEY INFO FOR ALLIANCE FRANÇAISE FRENCH FILM FESTIVAL 2026 (AF FFF 2026)
WHAT: Alliance Française French Film Festival 2026 (AF FFF 2026)
WHERE & WHEN:
Adelaide, SA: 18 March – 22 April
Venues: Palace Nova Prospect Cinemas, Palace Nova Eastend Cinemas
Ballarat, VIC: 5 Mar – 8 Apr
Venue: Palace Regent Cinema Ballarat
Ballina, NSW: 7 Mar – 2 Apr
Venue: Ballina Fair Cinemas
Bendigo, VIC: 17 Apr – 19 Apr
Venue: Star Cinema
Brisbane, QLD: 5 March – 8 April
Venues: Palace Cinema James Street, Palace Cinema Barracks
Bunbury, WA: 25 Mar – 29 Mar
Venue: Bunbury Regional Entertainment Centre
Byron Bay, NSW: 6 Mar – 2 Apr
Venue: Palace Byron Bay
Canberra, ACT: 5 March – 8 April
Venue: Palace Electric Cinemas
Darwin, NT: 23 Apr- 26 Apr
Venue: The Deckchair Cinema
Dubbo, NSW: 16 Apr- 19 Apr
Venue: Reading Cinemas Dubbo
Geelong, VIC: 16 Apr – 28 Apr
Venue: The Pivotonian Cinema
Gold Coast, QLD: 19 Mar – 8 Apr
Venue: Dendy Cinemas Southport
Hobart, TAS: 9 Apr- 19 Apr
Venue: State Cinema
Katoomba, NSW: 19 Mar – 29 Mar
Venue: United Cinemas The Edge
Melbourne, VIC: 4 March – 8 April
Venues: Palace Cinema Como, The Kino, Palace Balwyn, Palace Brighton Bay, Palace Westgarth, Pentridge Cinema, The Astor Theatre, Palace Penny Lane, Palace Church St
Perth, WA: 12 March – 15 April
Venues: Palace Raine Square, Luna on SX, Luna Leedeerville, Windsor Cinema
Rhodes, NSW: 9 Apr – 19 Apr
Venue: Reading Cinemas Rhodes
Rouse Hill, NSW: 3 Apr – 12 Apr
Venue: Reading Cinemas Rouse Hill
Sydney, NSW: 3 March – 8 April
Venues: Palace Central, Palace Norton Street, Palace Moore Park, Hayden Orpheum Cremorne,
Roseville Cinemas, Warriewood
Victor Harbour, SA: 25 Mar – 1 Apr
Venue: Victa Cinema
Warrawong, NSW: 3 Apr – 14 Apr
Venue: Gala Twin Cinema
HOW: Purchase your tickets online via the festival website or at the cinemas themselves.
HOW MUCH: Ticket prices vary per city. You may want to buy yourself a film pass for 5, 10 or 20 films if you are planning on seeing several.
