18/12/2025 - Les journalistes de Cineuropa ont voté. Quelles sont les meilleures oeuvres européennes de l’année ?

En dépit de tout ce qui se passe en ce moment dans le monde, particulièrement en Europe, où des idéologies et politiques liberticides ayant pour corollaire l'étouffement de l'expression culturelle gagnent du terrain, les manifestations de créativité et revendications de visibilité, d’acceptation ou de reconnaissance dans le champ de la culture et de l’art n’ont jamais eu autant de force, pourrait-on avancer. En une année partout marquée par la tourmente pendant laquelle le génocide en cours à Gaza, la menace d’un fascisme toujours renaissant, les ravages du colonialisme et le combat pour les droits des femmes auront été au centre de nos préoccupations, plusieurs films sont parvenus à les évoquer sous toutes leurs facettes, tout en sondant en profondeur notre besoin éternel de guérir les blessures et de réparer les liens familiaux brisés, ainsi que notre recherche perpétuelle d’amour (quelle que soit la forme qu'il prenne) et la quête de sens qui découle de tout cela. À mesure que sa présence dans le monde continue de s'accroître (le fait que la "saison des prix de cinéma" n'est plus seulement américaine est révélateur), le cinéma européen tient bon, et affirme haut et fort ce qui compte pour nous tous.

Les journalistes de Cineuropa se sont exprimés. Quels sont les meilleurs films (co)produits en Europe de l'année, selon notre équipe ?

25 Put Your Soul on Your Hand and Walk [+lire aussi :
critique
fiche film], Sepideh Farsi (France/Palestine/Iran)

"Pendant une année, Sepideh Farsi est restée en contact avec avec la reporter-photographe palestinienne de 24 ans Fatma Hassona dans l’intention de documenter, à travers les yeux et la voix de la jeune femme, la vie quotidienne à Gaza sous les bombes. Le 15 avril 2025, Farsi a annoncé à Hassona que le film avait été sélectionné pour faire sa première mondiale au Festival de Cannes, dans la sélection de l'ACID. Les deux femmes se sont réjouies : toutes deux invitées sur la Croisette, elles allaient enfin pouvoir se rencontrer en personne. Le lendemain, le 16 avril, un missile israélien a frappé la maison de Fatma Hassona, tuant instantanément la photo-reporter et six membres de sa famille. Put Your Soul on Your Hand and Walk est de ces films qui vous balancent la vérité en pleine face et vous laissent abasourdi, même après que les lumières de la salle se soient rallumées. Dans son extrême simplicité (deux visages sur un smartphone, les photographies de Fatma, quelques extraits de journal télévisé), Farsi constitue un témoignage précieux et déchirant sur l’extermination en cours dans la Bande, mais aussi sur la force et la lumière de ceux qui n’ont plus rien, sauf leur humanité." (Vittoria Scarpa)

(Lire la critique)

24 L'amour qu'il nous reste [+lire aussi :
critique
bande-annonce
interview : Hlynur Pálmason
fiche film], Hlynur Pálmason (Islande/Danemark/Suède/France)

"Anna et Maggi sont aussi séparés, depuis peu, mais ils passent autant de temps ensemble que le permettent les expéditions en mer de Maggi et le fait qu'ils ne sont plus un couple. L'histoire les suit sur une année, au fil des quatre saisons, et cela dit, des choses restent, y compris l'amour (ce qu'on voit à l'écran et qui, là aussi, donne lieu à des images intrigantes). Ce qui est clair, c'est que L'Amour qu'il nous reste est un film de Hlynur Pálmason, un excellent cinéaste islandais qui vous invite chez lui, quitte à vous déstabiliser une fois entré, mais ce n'est pas déplaisant, bien au contraire." (Jan Lumholdt)

(Lire la critique)
(Lire l'interview avec Hlynur Pálmason)

23 The Chronology of Water [+lire aussi :
critique
bande-annonce
fiche film], Kristen Stewart (États-Unis/Royaume-Uni/France/Lettonie)

"Kristen Stewart s'est tellement retrouvée dans les mémoires encensées de Lidia Yuknavitch qu'elle a voulu en réaliser une adaptation et d'une certaine manière, on sent sa présence à l'écran. Bien que le film cède à certains clichés, elle n'en reste pas moins une belle expansion par rapport à ce que Stewart a déjà apporté au cinéma américain et international (un César figure en effet parmi ses trophées), cette fois de l'autre côté de la caméra comme réalisatrice.” (David Katz)

(Lire la critique)

22 Oui [+lire aussi :
critique
bande-annonce
fiche film], Nadav Lapid (France/Israël/Chypre/Allemagne)

"In Nadav Lapid’s new film, perhaps stifled by the horror they see around them, characters seem robbed of the capacity – or are just unwilling – to speak. They dance with an intimidating kind of aggression; emotions that are typically verbalised, like anger, passion or love, are sung or jolted onto a piano, Thelonious Monk-like. Then, in a more relatable move, the lead character headbutts commands into his iOS keyboard. With Israel racked with trauma on the inside after 7 October, and imposing it mercilessly on Gaza themselves, Lapid has likely captured what it’s like to be a comfortable civilian existing now in Tel Aviv, the country’s signature metropolitan area – a more valuable and insightful contribution than many would concede." (David Katz)

(Lire la critique)

21 Un poète [+lire aussi :
critique
interview : Simón Mesa Soto
fiche film], Simón Mesa Soto (Colombie/Allemagne/Suède)

"The hardships of a struggling, suffering and misunderstood artist (in his own words) and also (according to most others) a whimpering, good-for-nothing bum are richly portrayed in A Poet. In the film's string of events, Simón Mesa Soto manages – at times recalling Ken Loach – to both humorously and thoughtfully touch upon social issues, commercialism of the arts, parenting issues and, not least, hopes and dreams of getting things right for a change." (Jan Lumholdt)

(Lire la critique)
(Lire l'interview avec Simón Mesa Soto)

20 Nouvelle Vague [+lire aussi :
critique
bande-annonce
fiche film], Richard Linklater (France)

"Nouvelle Vague could be one of the first films that forces your mind to simultaneously watch another. That parallel movie is Jean Luc-Godard’s Breathless [+lire aussi :
bande-annonce
fiche film]. Linklater’s elegant and concise portrait of Breathless’s production is an “answer” film to the prior one, with the majority of its scenes having an analogue to a passage in Godard’s. A benevolent dose of fan service for cinephiles – generations of which were enraptured by Godard – Nouvelle Vague won’t trigger the same revolution as its predecessor; instead, it teaches us again that young, nonconformist minds own the future of any art form." (David Katz)

(Lire la critique)

19 Le Mystérieux Regard du Flamant Rose [+lire aussi :
critique
interview : Diego Céspedes
fiche film], Diego Céspedes (France/Allemagne/Espagne/Chili/Belgique)

"By infusing his film with a pre-adolescent girl's quest for explanations and truth, Diego Céspedes invents his own cinematic territory, halfway between raw realism tinged with the western atmosphere and theatrical surrealism. It's an aesthetic that adds to the appeal of a film whose allegorical dimension isn't exactly revolutionary, but which lives up to its promise as a daring crossover and a tribute to the rebellious, loving spirit (despite the suffering) of a close-knit community: 'I may be a whore, a thief, a liar, but I'll never be a deserter'." (Fabien Lemercier)

(Lire la critique)
(Lire l'interview avec Diego Céspedes)

18 The Ugly Stepsister [+lire aussi :
critique
bande-annonce
fiche film], Emilie Blichfeldt (Norvège/Pologne/Suède/Danemark)

"Inspired mainly by the Brothers Grimm’s 1812 version of Cinderella, Emilie Blichfeldt has privileged the perspective of the story’s overlooked side character, and excelling in a tone of Cronenbergian body horror for its narrative arc, and 1960s-1970s Central European gothic for its atmosphere. Blichfeldt’s always steady craftsmanship offsets how she struggles investing this old bedtime-story warhorse with a novel element of surprise." (David Katz)

(Lire la critique)

17 L'Étranger [+lire aussi :
critique
bande-annonce
interview : François Ozon
fiche film], François Ozon (France/Belgique)

"A true gem in every respect, The Stranger is undoubtedly the most artistically accomplished feature film of François Ozon's prolific career, and its combination of cinematic excellence and essential world literary heritage makes it a natural and obvious candidate for the highest honours." (Fabien Lemercier)

(Lire la critique)
(Lire l'interview avec François Ozon)

16 The Last Viking [+lire aussi :
critique
bande-annonce
interview : Anders Thomas Jensen
fiche film], Anders Thomas Jensen (Danemark/Suède)

"It all starts as a hardened robber gets out after a 15-year prison stretch, ready to recoup a bank job loot of 20 million, hidden by his brother. Trouble aplenty indeed. All in the grandly bizarre design of this particular auteur. Like a Roy Andersson or an Aki Kaurismäki, Anders Thomas Jensen has that instant directing signature that identifies him within a minute’s screen-time. Like Thomas Vinterberg, Nicolas Winding Refn and Susanne Bier, he’s every inch as instrumental in defining the Danish cinema wave that took off in the mid-90s and still rolls on. Four decades and running, may Anders Thomas Jensen finally be ready to conquer the world?" (Jan Lumholdt)

(Lire la critique)
(Lire l'interview avec Anders Thomas Jensen)

15 Kika [+lire aussi :
critique
bande-annonce
interview : Alexe Poukine
fiche film], Alexe Poukine (Belgique/France)

"The director explores existential questions with triviality and depth in equal measure, incorporating them into a day-to-day life where reality doesn’t yield to fiction, where the story is anchored and located within real life. The film’s mise en scène gently resists the portrait format, advancing in fits and starts, and occasionally indulging in dizzying ellipses. If Kika is at the centre of it all, she’s at the centre of a human constellation where all perspectives are rich and sensitively showcased." (Aurore Engelen)

(Lire la critique)
(Lire l'interview avec Alexe Poukine)

14 La grazia [+lire aussi :
critique
bande-annonce
fiche film], Paolo Sorrentino (Italie)

"While he admits to doing a take, of sorts, on Krzysztof Kieślowski’s Decalogue, Sorrentino’s handling of these existential themes becomes a work all of his own, refreshingly low-key and impeccably enhanced by his main actor from (so far) seven works of often considerable merit from the duo. Of these, La Grazia resides alongside The Great Beauty [+lire aussi :
critique
bande-annonce
interview : Paolo Sorrentino
fiche film], regarding both the “Great” bit and certainly the “Beauty” one. Equalling Mariano De Santis’s qualities with any current high-ranking politician is a trickier task though – certainly when it comes to the “Grazia” part." (Jan Lumholdt)

(Lire la critique)

13 La Trilogie d’Oslo / Rêves [+lire aussi :
critique
bande-annonce
interview : Dag Johan Haugerud
fiche film], Dag Johan Haugerud (Norvège)

"After Sex [+lire aussi :
critique
bande-annonce
interview : Dag Johan Haugerud
fiche film] and Love [+lire aussi :
critique
bande-annonce
interview : Dag Johan Haugerud
fiche film], Dreams has a significantly harder mission to fulfil as a culmination. However, what Haugerud demonstrates with this particular triptych is that hierarchies have no place in love (or sex or dreams). The films that Dag Johan Haugerud makes are love letters to Oslo, celebrating human connection: real or imagined, these encounters make us who we are and reverberate long after their original vessel has disappeared. Dreams, much like its predecessors, is a paean to the fleeting moments that bring profound change without us realising it just yet." (Savina Petkova)

(Lire la critique)
(Voir l'interview avec Dag Johan Haugerud)

12 Resurrection [+lire aussi :
critique
bande-annonce
fiche film], Bi Gan (Chine/France)

"To boil Resurrection down to one factor, Bi Gan – a young man, in love with an art form that many have proclaimed dead – has reanimated what he views as cinema (indeed, no social realism is seen), perhaps to bid it one final goodbye as we move through a 21st century where, as the saying goes, the dystopia is already here. A cult of viewers are going to adore this feature, and Mulholland Drive-, Memento- and Tenet-style spatial plot diagrams will be made. Come on, discover your Bi-sexuality!" (David Katz)

(Lire la critique)

11 Le Rire et le Couteau [+lire aussi :
critique
bande-annonce
interview : Pedro Pinho
fiche film], Pedro Pinho (Portugal/France/Roumanie/Brésil)

"Duration is obviously key to Pinho’s artistic vision, and I Only Rest in the Storm requires its sprawl for the range of disparate themes it explores and in order to burrow deep into characterisation. It’s a hypnotic, if demanding, sit at 211 minutes, but it would feel undernourished and unfinished if it were 45 minutes shorter. You need to ease into its flow in an experiential manner and set your body clock to the well-known cultural notion of “African time”. Sérgio feels like a vague analogue for Pinho’s position in all of this, looking in from the outside, and wondering if he belongs or is overstepping various boundaries. This dynamic makes I Only Rest in the Storm feel slightly self-conscious, doubling back and circling its own themes, but there’s also beauty in its commitment to hesitance and ambivalence." (David Katz)

(Lire la critique)
(Lire l'interview avec Pedro Pinho)

10 Pillion [+lire aussi :
critique
fiche film], Harry Lighton (Royaume-Uni/Irlande)

"Pillion (a term evoking the back seat of a motorbike) is an unabashedly raw and relatively stunning film in its meticulous depiction of the banality of highly unconventional practices. Harry Lighton overcomes the pitfalls of a daring cinematic gamble thanks to the performances of his two protagonists, but above all by succeeding in giving the whole thing a highly ironic, bittersweet tone. It's a cheeky, very British sense of humour that may prove controversial, but it allows viewers to enter an ultra-codified world and project themselves." (Fabien Lemercier)

(Lire la critique [+lire aussi :
critique
fiche film])

9 Deux procureurs [+lire aussi :
critique
bande-annonce
interview : Sergueï Loznitsa
fiche film], Sergei Loznitsa (France/Allemagne/Roumanie/Lettonie/Pays-Bas/Lituanie)

"Through his perfectly sketched characters and remarkable atmospheric rendering, Sergei Loznitsa makes an excellent film, condensed and intense in its chiselled tempo. Taking all the time he needs to study the expressions on the faces, the suggestions in the words, the heavy prison climate, the hushed, almost Kafkaesque world of the centre of power, while injecting a modicum of suspense and (very) dark humour into the tribulations of his idealistic hero on the lookout, already feeling or imagining the breath of the NKVD (now FSB) on his neck, the director delivers a pitiless picture, a striking message denouncing a corrupt Saturnian system that devours its own children, and a cinematic work of the highest order." (Fabien Lemercier)

(Lire la critique)
(Voir l'interview avec Sergei Loznitsa)

8 Les Échos du passé [+lire aussi :
critique
bande-annonce
interview : Mascha Schilinski
fiche film], Mascha Schilinski (Allemagne)

"For Mascha Schilinski, film is both a mirror and a portal to a world of feelings. A lot hinges on every single image in Sound of Falling, with a narrative uniting four girls across decades in a single courtyard. It is also a brilliant example of using formalistic restraint to deliver a hushed drama on an epic scale, where each scene can equally be the first and last one. Its compositions exude all the eeriness of early photographs where people could easily believe that the camera lens could imprison one’s soul. For such an assured critics’ favourite that pays so much attention to surfaces, Sound of Falling defeats the usual superficiality-related objection levelled at the extensive use of formalism, since it treats surfaces as the outer layer of a living, breathing organism – be it a woman or a house." (Savina Petkova)

(Lire la critique)
(Lire l'interview avec Mascha Schilinski)

7 Bugonia [+lire aussi :
critique
bande-annonce
fiche film], Yorgos Lanthimos (Irlande/Royaume-Uni/États-Unis/Corée du Sud)

"What elevates Bugonia beyond a mere exercise in eccentricity is its sense of joy. For all its disturbing ideas, the film radiates the impression that it was made with mischief and pleasure. It is probably Yorgos Lanthimos at his most unrestrained – nihilistic yet comedic. The laughter comes easily, but so does the unease. By the end, one has the feeling of having witnessed a work that dares to be silly and profound in equal measure, revelling in contradiction while exposing hard truths about contemporary society." (Davide Abbatescianni)

(Lire la critique)

6 Fiume o morte! [+lire aussi :
critique
bande-annonce
interview : Igor Bezinović
fiche film], Igor Bezinović (Croatie/Italie/Slovénie)

"Igor Bezinović sets out on a journey to reenact the details of Gabriele D’Annunzio’s rule over the city of Rijeka, now largely forgotten. For that, he relied on rich archival material consisting of over 10,000 photos and some film footage from that period. However, this is not a simple dramatic reconstruction of a historical period, as the filmmaker gets to the meta-level of explaining his creative process, in order to replay some of the moments recorded on the photographs. Lastly, the filmmaker tries and manages to open a dialogue with our present times. Fiume o morte! is a slick piece of filmmaking that reminds us that, although the items of the “legacy” of a certain period might not always be on display, the dark or crazy past is never too far away." (Marko Stojiljković)

(Lire la critique)

5 La Voix de Hind Rajab [+lire aussi :
critique
bande-annonce
interview : Kaouther Ben Hania
fiche film], Kaouther Ben Hania (Tunisie/France)

"Uncomfortable as it is to make cinematic comparisons, The Voice of Hind Rajab is in the vein of recent compressed accounts of rescues and heroic bravery from emergency services, although it obviously goes further by allowing in an actual record of the event (and occasional cutaways to the real people whom the actors are playing), giving a further connection to “reality”, and awkwardly rendering the acting and screenwriting broader and more melodramatic. But returning to the apt sense of distance and technological mediation that the film creates, it also emphasises that this is an unprecedented catastrophe and act of collective punishment from Israel, where, let alone Hamas, every Gazan is apparently targeted, and civil protections by intermediaries like the Red Crescent, not to mention journalists and recognised diplomatic organisations, count for nothing." (David Katz)

(Lire la critique)
(Lire l'interview avec Kaouther Ben Hania)

4 L'Agent secret [+lire aussi :
critique
bande-annonce
fiche film], Kleber Mendonça Filho (Brésil/France/Allemagne/Pays-Bas)

"An expert when it comes to cryptically preparing his playing field, Kleber Mendonça Filho makes his unique voice resonate by masterfully amalgamating all the voices of his chorus of characters. Hiding emotion for a long time under a formal mask of entertainment and homage to the heritage of the 7th art, the film reveals itself to be a choice piece in the museum to the murderous memory of Brazil." (Fabien Lemercier)

(Lire la critique)

3 Valeur sentimentale [+lire aussi :
critique
bande-annonce
interview : Joachim Trier
fiche film], Joachim Trier (Norvège/France/Danemark/Allemagne)

"There’s arthouse, and then there’s accessible arthouse, and Norway’s Joachim Trier has become a bit of an expert at the latter. His films, especially the most recent ones, are all about that laughter through the tears. It sounds terribly sentimental, but it works. So many directors, or actors, compare creating to therapy, but Trier – on good form here – tenderly shows how it works in practice. Long-kept secrets can eat you, and your children, alive, seems to be the lesson here, so go and make some art. And be merry." (Marta Bałaga)

(Lire la critique)
(Lire l'interview avec Joachim Trier)

2 Un simple accident [+lire aussi :
critique
bande-annonce
interview : Jafar Panahi
fiche film], Jafar Panahi (France/Luxembourg/Iran)

"Jafar Panahi reaffirms his place as one of the most essential filmmakers working today. His latest is not only politically potent and formally inventive, but also deeply humane – a gripping, slow-burning narrative that culminates in an unexpectedly devastating finale. It is both timely and timeless, and deeply rooted in the social and political realities of Iran." (Davide Abbatescianni)

(Lire la critique)
(Lire l'interview avec Jafar Panahi)

1 Sirāt [+lire aussi :
critique
bande-annonce
interview : Óliver Laxe
fiche film], Óliver Laxe (Espagne/France)

"Recycling many genres (a touch of Mad Max, a zest of Zabriskie Point, and the Tawaf ritual at Mecca) and following the subtle thread woven in his previous works, Óliver Laxe fully carries the spectator away and masterfully succeeds in creating an unforgettable (yet absolutely not experimental) experiential film about man and the world, the collective and the individual, being and nothingness, radicality and universality, the intimate and the cosmic, that is better traversed without thinking in order to enjoy it to the fullest." (Fabien Lemercier)

(Lire la critique)
(Lire l'interview avec Óliver Laxe)

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(Traduit de l'anglais)