For several weeks, English-speaking film enthusiasts have been debating the merits and drawbacks of Christopher Nolan’s $250 million cinematic rendition of The Odyssey. Meanwhile, in France, this adaptation faces formidable local competition. A recent two-part biographical film about General Charles de Gaulle, highlighting his efforts to free France during World War II, has emerged as a summer box office sensation, fueled by positive word-of-mouth.
The lengthy five-hour duration of the De Gaulle biopic may have drawn viewers seeking a cool retreat from the summer heat. However, the film has also garnered enthusiastic praise from both critics and audiences, particularly among younger viewers. This success has positively influenced cultural engagement, including an uptick in visitors to the Museum of the Liberation of Paris.
What makes this buzz even more noteworthy is that de Gaulle, known for his stoic and somewhat distant demeanor, has historically been a less prominent figure in cinema compared to Winston Churchill. The film’s appeal has been partially credited to a dynamic and well-crafted screenplay that draws from British historian Julian Jackson’s esteemed biography. Additionally, Jérôme Seydoux’s efforts to rejuvenate French historical drama with blockbuster films such as The Three Musketeers and The Count of Monte Cristo have proven successful.
Moreover, there may be deeper political influences at play. By highlighting the significant role of the Free French Forces in North Africa, primarily composed of Black colonial soldiers, these films resonate with a younger generation grappling with far-right rhetoric surrounding national identity. Given the current tensions between Europe and a Trump-led United States, alongside the growing economic concerns regarding China, a renewed interest in Gaullist leadership ideals seems plausible.
Similar trends can be observed in other prominent films exploring France’s World War II history. Cinemas are currently showcasing or preparing to screen two psychological studies of collaboration under Marshal Philippe Pétain’s Vichy regime, a biopic of Resistance icon Jean Moulin, and a retelling of a notable attempt to save over 100 Jewish children from deportation. French historian Henry Rousso, writing in Le Monde, noted that these films diverge from the so-called ‘retro wave’ of the 1970s, stating that they do not merely reveal a repressed historical narrative but rather serve as urgent warnings, albeit with varying degrees of subtlety.
As France approaches a presidential election that could see the daughter of a controversial Vichy supporter ascend to the Élysée, the relevance of these narratives becomes clear. Rousso points out that while Marine Le Pen’s Rassemblement National party should not be equated with 1930s fascism, its disregard for republican values—particularly regarding immigration—echoes troubling historical periods.
Film trends often mirror societal concerns, and the current focus in France on a time defined by stark moral dilemmas, coupled with the popularity of a film centered on leadership, may reflect contemporary anxieties alongside historical scars.
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