Angoulême 2026 – day 6: Ten percent the film, the duo Nina Meurisse-Sofian Khammes, Les Filles d’Abraham and Nicolas Maury

Every day, a look back at the highlights of the 19th edition of the French-speaking film festival

Film of the day: Ten percent, the film by Emilie Noblet

So here they are back. Andréa, Hervé, Gabriel, Arlette, Noémie, Mathias and Camille. The pillars of the series Ten percent and members of the ASK agency which closed its doors during season 4. Five years after this final clap, here we are again Ten percent in the form of a feature film which also marks the return to the script of the original showrunner, Fanny Herrero.

And writing once again plays a central role here. Because the film achieves the feat of making each of its characters exist without anything ever seeming forced. Firstly because everything is based on a solid duo who, with the exception of an unforgettable childbirth sequence, had no face-to-face scene in the four seasons of the series: Andréa (Camille Cottin) and Noémie (Laure Calamy). The first has reinvented herself as a director and will entrust the eventful production of her first feature film to the second, who has become a producer but of projects much less artistically ambitious than this one.

Their duo of opposites and the comic genius of Camille Cottin and Laure Calamy set the tone. And each character and each guest (Laetitia Casta, Vincent Macaigne or even for a scene – brilliant – George Clooney). The DNA of the series has not evaporated along the way. His tone where humor and cruelty, sprinkled with just the right amount of tenderness, combine harmoniously. This concern too, beyond telling the behind the scenes of the cinema world, to talk about the society around us, as the series was able to capture the time of an episode of the Metoo movement long before it became a media phenomenon. This is why when we love the series Ten percentwe delight in the continuation of their adventures and the way in which a loop is closed here definitively in a final straight line of an emotional intensity that we do not necessarily see emerging. Goodbye and thank you!

Available on Netflix September 10

The duo of the day: Nina Meurisse and Sofian Khammes in Which leads us to you

As in any festival, we find links between the films that make up its selection over the days. This first feature film by Khalil Cherti thus dialogues with the Top of the pile by Louis-Julien Petit that we mentioned two days ago. The latter was talking about GPA. Which leads us to you follows the PMA journey of a couple who are unable to have children. And this dialogue works because both are a thousand miles from a programmatic story and transcend their social subjects to tell exciting couple stories, rich in love obviously but also in fear, in doubts, in despondency, in suppressed or explosive rage.

But for all of this to impress the screen, you need actors capable of embodying – in the first sense of the term – the highs and (very lows) experienced by their characters. Sofian Khammes and Nina Meurisse (already awarded in Angoulême in 2019 with Camille) are the perfect illustration of this. Their immense individual acting qualities have long been known. Here, their alchemy sets everything on fire from the first shot and makes you physically feel what their characters are going through. An ideal casting for a very beautiful film.

The revelation of the day: Hanaël El Yousfi for The Daughters of Abraham

Due to her mixed family origins, Hanaël El Yousfi launched into cinema in 2021 with the desire to talk about the Jewish and Muslim communities. To show, going against the grain of the discourse then and even more so today, that what brings them together is stronger than what separates them. And here she extends into a feature film this gesture which gave birth to her first short, Mazel Brouk. The Daughters of Abraham features two childhood friends – one from a Muslim culture, the other from a Muslim family – (Melissa Guers and Ava Baya, sparkling) confronted with the emergence of an intimate video, filmed by one of them, which will dangerously shake the balance between their two families.

And what is striking here is the limpidity and fluidity of the filmmaker’s gesture. On a more than undermined terrain, it does not seek balance at all costs and at all times, nor does it seek to give guarantees to each community. His straight writing – both of the characters and the situations – creates a tension that will never fade throughout his story. She does not try to embellish things, perfectly doses what she shows or places off-camera the violence that will invite itself into this hitherto cloudless relationship. That of words being undoubtedly the most formidable of all. Hanaël El Yousfi could not dream of a more beautiful and symbolic reward than the public prize awarded last night

In theaters December 31

Video of the day: Nicolas Maury for Ten percent, the film

Surrounded by his partners Fanny Sidney and Camille Cottin, the interpreter of Hervé in Ten percent confided to First the singular memory of his very first day of filming on the cult series which returns in the form of a feature film, five years after the end of its season 4.

On Netflix September 10