The American French Film Festival (TAFFF) has kicked off its 2025 edition, showcasing a diverse lineup of films and television series. This year’s festival runs from October 31 through November 3, 2025, featuring a mix of established filmmakers and emerging talent. Building on its success from last year, particularly with the acclaimed film Emilia Pérez, TAFFF aims to strengthen the cultural ties between the French and U.S. film industries.
TAFFF is renowned as the world’s largest festival dedicated to French cinema and television. Established through the Franco-American Cultural Fund in 1996, it celebrates the collaborative spirit between French association SACEM and prominent U.S. guild organizations, including the Directors Guild of America, the Motion Picture Association, and the Writers Guild of America West. The 29th annual festival takes place at the DGA Theater Complex in Los Angeles, featuring a selection of around 70 titles.
The festival opened with the mystery feature A Private Life, directed by Rebecca Zlotowski. This film marks a significant milestone as it is the first entirely French-speaking role for Jodie Foster, a two-time Oscar winner who has been awarded a lifetime achievement honor at the screening. Another highlight is the centerpiece screening of Richard Linklater‘s latest film, Nouvelle Vague. This narrative explores the making of Jean-Luc Godard’s classic Breathless, showcasing Linklater’s first film shot entirely in French. At the festival, Linklater received the Franco-American Cultural Fund Award for the project, which features American actress Zoey Deutch and French stars Guillaume Marbeck and Aubry DullinNouvelle Vague as embodying the essence of the festival, with an American director collaborating with a French cast and crew. “It’s an amazing mix for what we are seeking: cultures feeding each other through creativity,” she remarked.
This year’s festival also presents notable titles such as It Was Just an Accident by Jafar Panahi, which won the Palme d’Or at Cannes and is France’s entry for the international feature Oscar. Other noteworthy films include The Richest Woman in the World, led by Isabelle Huppert, and a documentary on Brigitte Bardot titled Bardot.
In addition to film screenings, TAFFF features a DGA-sponsored filmmaker panel with prominent directors including Jason Reitman and recent Oscar winner Sean Baker. The discussion, moderated by former DGA president Taylor Hackford, focuses on the importance of revitalizing the cinematic experience in theaters. Hackford highlighted the need for directors to engage in conversations about the future of feature films, stating, “These are people who are working directors, facing an existential crisis in our business. To have that group exchanging with their equals in France is really what the Franco-American Cultural Fund is all about.”
While the festival celebrates high-profile names, TAFFF also aims to introduce fresh talent to the American market. The newly launched New Horizons program spotlights works from both rising and established French filmmakers. This year’s roster includes Valérie Donzelli’s At Work, which won best screenplay at the Venice Film Festival, and Claire Denis’s The Fence, featuring Tom Blyth and Mia McKenna-Bruce.
Van Riel emphasized the diversity of voices within French cinema, stating, “The voice of French artists is not a monolith, and that voice is diverse.” She pointed to The Little Sister by Hafsia Herzi, which tells the story of a lesbian teen in a Muslim family, as well as Love Me Tender by Anna Cazenave Cambet, focusing on a woman’s custody battle following her relationship with another woman. Both films, which premiered at Cannes, illustrate the festival’s commitment to showcasing unique and varied perspectives.
The festival’s lineup arrives during a period of increasing recognition for French filmmakers in the American market. Notable films such as Anatomy of a Fall by Justine Triet, which garnered five Oscar nominations following its Palme d’Or win, and the genre hit The Substance, which won an Oscar for makeup, signify a growing appreciation for French cinema. Additionally, Emilia Pérez made waves at the Academy Awards, securing 13 nominations and wins for best song and supporting actress for Zoe Saldaña.
TAFFF’s organizers take pride in the festival’s influence on film distribution and recognition. Executive producer and artistic director Francois Truffart noted the festival’s strategic shift to a fall slot in 2019, aiming to align with awards season. “We are really the place where you have the most important group of AMPAS members,” he stated, emphasizing the festival’s role in promoting films like Emilia Pérez.
As TAFFF looks ahead, it remains dedicated to expanding its audience. For those unable to attend in person, the festival offers over 1,000 film and series titles available for rental through its library. It also provides free screenings for local high school students, including a presentation of Nouvelle Vague. With the rise of streaming services, the hope is to further enhance the visibility and appeal of French projects.
Truffart concluded, “We know that we’re still a niche market, like any other foreign industry, so it’s always a challenge. The good news is that people are getting used to watching films with subtitles, making international cinema more accessible.” As the festival continues to champion diverse voices, it reinforces the vital connection between French and American cinema.