North American premiere
Cheval Noir


Directed by Michel Hazanavicius


Official selection

Cannes Film Festival 2022 - Out of Competition


Michel Hazanavicius


Michel Hazanavicius


Bérénice Bejo, Romain Duris, Grégory Gadebois, Matilda Lutz, Finnegan Oldfield


Les Films Opale

France 2022 110 mins OV French Subtitles : English
Genre HorrorComedy

“Arguably the goriest film to ever open the Cannes Film Festival, Michel Hazanavicius’ meta zombie comedy is also one of the more clever and giddily entertaining ones”

“A film about the beauty of blood-sweat-and-tears collaboration, and a heartening paean to the value even slightly shoddy art can have to its creators”
- Robbie Collin, DAILY TELEGRAPH

“An entertaining piece of work—and a genuine oddity”
- Peter Bradshaw, GUARDIAN

Stop us if you've heard this before: A tiny film crew is shooting in an abandoned warehouse when, suddenly, zombies appear. The crew runs from the few extremely slow zombie invaders and never stops filming, resulting in the first-ever one-take zombie movie. End of act one. Then we learn of the history of this would-be zombie epic and the director (Romain Duris) who just wants a chance to prove himself and his small, loyal family and crew who support his vision, proving that getting any movie made is not just a minor miracle but a group effort of the highest order. One that makes you feel like part of something special, no matter how it may turn out.

Yes, that's ONE CUT OF THE DEAD, Shinichiro Ueda's micro-budget comedy sensation won an award at Fantasia 2018 on its way to becoming a worldwide sensation, but we're also describing COUPEZ!, the new film from Academy Award-winning director Michel Hazanavicius, making its North American premiere at Fantasia 2022 after opening this year’s Cannes. COUPEZ! is a meta remake of ONE CUT, and while the idea of remaking a beloved modern classic should make most Fantasians wince, Hazanavicius' take is equally respectful and very much its own thing, as much a love letter to filmmaking as the original was, but with same visual wit that Hazanavicius brought to his OSS 117 films and THE ARTIST. Part of the fun is watching this material play through again with the same energy, spirit, and enthusiasm, and wouldn't you know, it's still damned funny throughout, proving the material can travel from Japan to France with its vitality—and sense of fun—intact. – Matthew Kiernan