“La Venue de l’avenir”: Klapisch signs an intimate film
A film about the future, walking into the past. With La Venue de l’avenir, Cédric Klapisch explores roots, eras and the mysterious connections that weave our identities. Presented out of competition at Cannes 2025, this fifteenth feature film is a gentle, poetic reflection on heritage, memory and transmission.
One building, one ancestor, four heirs
It all begins in Normandy, in a neglected house. Seb, Abdel, Céline and Guy – cousins who don’t know each other – inherit an unsuspected family heirloom. As they explore the premises, they discover the existence ofAdèle, their mysterious ancestor who disappeared in 1895, having left the house to move to Paris. A departure that resounds like a turning point in history.
Suzanne Lindon plays the role of Adèle, an inquisitive, free-spirited young woman whose diary serves as a narrative thread. A character between historical reality and fantasy, the driving force behind a literary and sensory journey through time.
1895: the other century, the other Paris
1895 was also the year of the Lumière brothers’ first film, Sarah Bernhardt ‘s Mucha poster, and Paul Cézanne‘s first solo exhibition. The film blends these cultural landmarks with a story of self-discovery, featuring Paul Kircher and Vassili Schneider as the male figures Adèle meets in the burgeoning artistic capital.
Somewhere between a contemporary TGV and a steam liner, Klapisch opens doors to time, playing with styles, media and aesthetics.
A generational fresco more sensitive than spectacular
With La Venue de l’avenir, Klapisch signs a more contemplative work than his previous successes. No high drama, just hand-sewn fragments of humanity. A reminder that the future can only be thought of by looking to the past.
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