The essential Adèle Exarchopoulos films to watch now, from Cannes‑winning breakthroughs to daring recent gems. A tight guide, zero fluff, maximum impact.
Type “Adèle Exarchopoulos films” and the same question comes back: where to start and what not to miss. This guide goes straight to the point with the roles that built her reputation in France and abroad, those with awards buzz, and the recent titles everyone talks about.
Since erupting at Cannes in 2013 with “Blue Is the Warmest Colour”, Adèle Exarchopoulos has moved between auteur drama, crime romance, razor‑sharp comedy and genre cinema. Here are the standout films that map her evolution on screen, with dates, festivals and the context that helps a viewer pick the right next watch.
Blue Is the Warmest Colour: the Cannes milestone that set the tone
In 2013, “Blue Is the Warmest Colour” won the Palme d’Or at the Cannes Film Festival, an exceptional decision that credited director Abdellatif Kechiche and the two leads, Adèle Exarchopoulos and Léa Seydoux. The film’s premiere in May 2013 and French release that autumn shaped international attention overnight.
The performance brought Adèle Exarchopoulos the César Award for Most Promising Actress in 2014. Beyond trophies, the impact is practical: this is still the entry door for most viewers worldwide, the baseline to measure what came after. Long, intimate, and fiercely acted, it remains the reference point.
From “Sibyl” to “The Five Devils”: range on display in French cinema
Jump to 2019. Justine Triet’s “Sibyl” premiered in Competition at Cannes, with Adèle Exarchopoulos as an actress spiraling on and off a film set. The meta layers are gripping and show how she handles high‑wire tension when the camera refuses to blink. The Cannes slot alone tells you the level of ambition.
Then came “The Five Devils” in 2022, directed by Léa Mysius and unveiled at Directors’ Fortnight during the Cannes Film Festival. A touch of fantasy, a small‑town setting, a mother daughter axis where Adèle Exarchopoulos anchors the present while the story plays with memory and desire. Different register, same precision.
“Racer and the Jailbird”, “Down by Love”, and “Mandibles”: bold left turns
“Racer and the Jailbird” (2017), by Michaël R. Roskam, pairs Adèle Exarchopoulos with Matthias Schoenaerts. It blends high‑stakes romance and crime drama across Brussels’ racing circuits. Not just glossy images: it tests whether a love story can survive speed and secrecy.
“Down by Love” (2016) shifts to a real‑case‑inspired prison liaison under director Pierre Godeau. Tight framing, ethical pressure, and a relationship under rules that never bend. The film’s release placed Adèle Exarchopoulos in a mature register early, with stakes that resonate beyond the screen.
Then a swerve: Quentin Dupieux’s “Mandibles” premiered in 2020 at the Venice Film Festival out of competition. Absurdist tone, deadpan timing, a comic universe where she plays straight yet playful. For anyone who thinks her only zone is heavy drama, this one definitly breaks the cliché.
“Zero Fucks Given” and “Passages”: recent must‑watch highlights
“Zero Fucks Given” (“Rien à foutre”) landed at Cannes Critics’ Week in 2021, directed by Emmanuel Marre and Julie Lecoustre. Adèle Exarchopoulos plays a low‑cost airline crew member drifting between flights and messaging apps. Gig work rhythms, burnout signs, the quiet loneliness of airports. Precise, observational, unromantic.
In 2023, Ira Sachs’ “Passages” premiered at the Sundance Film Festival, starring Franz Rogowski and Ben Whishaw with Adèle Exarchopoulos as the woman thrown into a volatile love triangle. It studies desire and control with crisp detail. Festival goers praised the clarity of the character work and the fearless intimacy of the scenes.
For anyone catching up right now, these two titles feel contemporary in their themes and pacing. They connect to real‑life work cycles and relationships in a way that travels well beyond France.
If the search intent is a quick, reliable watchlist, here is the compact version with years and directors for easy triage:
- Blue Is the Warmest Colour (2013) – Abdellatif Kechiche – Palme d’Or at Cannes
- Down by Love (2016) – Pierre Godeau
- Racer and the Jailbird (2017) – Michaël R. Roskam
- Sibyl (2019) – Justine Triet – Cannes Competition
- Mandibles (2020) – Quentin Dupieux – Venice out of competition
- Zero Fucks Given (2021) – Emmanuel Marre and Julie Lecoustre – Cannes Critics’ Week
- The Five Devils (2022) – Léa Mysius – Directors’ Fortnight
- Passages (2023) – Ira Sachs – Sundance
What’s the best order to watch? Start with “Blue Is the Warmest Colour” to understand the pivot point in 2013, then jump to “Zero Fucks Given” and “Passages” for present‑day energy. Circle back to “Sibyl” and “The Five Devils” to see how French cinema used her intensity in two very different frames. Keep “Mandibles” for a palate cleanser, and slot “Down by Love” plus “Racer and the Jailbird” when a more classical dramatic arc calls.
One last note that helps: festival labels are not just prestige markers. Cannes 2013, Cannes 2019, Cannes 2021, Venice 2020, Sundance 2023 – these dates map an artist working consistently at the center of European and independent cinema. That path reduces guesswork. Pick a title aligned with the mood of the day, and the performance will do the rest.