“Under Paris” emerges as a shark movie that swims rather than sinks, making it a worthy addition to the genre. Directed by Xavier Gens, this French Netflix thriller takes a brilliantly simple premise—what if there were a shark in the Seine?—and treats it with earnestness. Unlike campy shark films, “Under Paris” plays it straight, focusing on killer set-pieces and memorable images.
The antagonist, Lilith, is a giant mako shark that migrates from the saltier Great Pacific Garbage Patch to the less toxic Seine. The film weaves in environmental themes and science fiction, as well as personal stakes for protagonist Sophia (played by Bérénice Bejo), who lost her husband during a swim with apex predators. As an upcoming triathlon approaches, with the swimming portion set in the Seine, the urgency of dealing with Lilith becomes paramount.
Director Xavier Gens’s visual storytelling shines, creating sequences that are both terrifyingly beautiful and genuinely thrilling. While it lacks iconic dialogue like “You’re gonna need a bigger boat,” “Under Paris” delivers a sensory experience that keeps viewers engaged. And yes, there’s even an explanation for Lilith’s unique adaptation.
In a genre where great shark movies are rare, “Under Paris” stands out as one of the best, deserving recognition beyond faint praise. In the film “Under Paris,” Lilith is the apex-predator antagonist—a giant mako shark. Driven out of her saltwater home due to pollution, Lilith seeks refuge in France’s iconic Seine River. Her arrival becomes urgent as an upcoming triathlon is scheduled to take place in the river. Director Xavier Gens treats this shark movie with earnestness, focusing on killer set-pieces and memorable images.
While both Lilith from “Under Paris” and the shark in “Jaws” share the common theme of terrorizing humans, they differ in several ways. The iconic shark in “Jaws” is a menacing force of nature, portrayed with suspenseful build-up and intense music. It’s a primal fear of the unknown lurking beneath the water. Lilith is more mysterious and visually striking. The shark in “Jaws” is seen more prominently, especially during the climactic scenes. Lilith is deliberately shown less, following the idea that less is more when it comes to creature features. The shark in “Jaws” terrorizes a coastal town, driven by primal instincts. Lilith’s arrival in the Seine River is influenced by environmental factors, including pollution and habitat disruption. The shark in “Jaws” remains a primal force, devoid of personality. Lilith’s unique adaptation and backstory add depth, making her more than just a mindless predator. While “Jaws” set the standard for shark movies, “Under Paris” offers a fresh take, blending environmental themes and visual storytelling. Both sharks evoke fear, but Lilith’s mysterious presence sets her apart.
“Under Paris,” defies conventional shark movie expectations. It’s the missing link between “Jaws” and the absurdity of films like “Sharktopus.” The film balances seriousness and absurdity. It takes its premise—there’s a shark in the Seine—seriously, avoiding campy tropes. Lilith, a giant mako shark, migrates from the Great Pacific Garbage Patch to the Seine. Environmentalism and science fiction play a role. Paris is hosting a triathlon with a swimming portion in the Seine. The mayor, in true “Shark Movie Mayor” fashion, refuses to postpone the event despite the shark threat. While absurd, the film draws on real-world science and climate change themes. Established actors, sharp cinematography, and resonant themes elevate it beyond typical creature features. The film acknowledges implausibility but swiftly changes the subject. “Under Paris” invites viewers to embrace its unique blend of seriousness and shark-infested absurdity.
Gorgeous visuals, genuine thrills, and suspense. Bérénice Bejo’s performance adds to the intensity. While some shark movies have high-octane moments, “Under Paris” balances suspense and absurdity. In “Under Paris,” the script becomes a tangled web of characters and plot threads, seemingly designed to distract viewers from deeper contemplation. Nassim Lyes, who plays Sgt. Adil, leads an eerily militarized River Brigade police force monitoring the Seine. When faced with the existence of a shark, Adil’s group initially denies it, then refuses to consider rescue over killing. The film spends a significant portion of its 101-minute runtime on this debate, even though the audience already knows the answer.
“Under Paris” (Sous la Seine) is a Netflix film that combines elements of horror, thriller, and ecological cautionary tale. The story begins with a tragic incident involving scientists researching sharks, leading to the death of several team members. The narrative then shifts to Paris, where the protagonist, Sophia Assalas, played by Bérénice Bejo, grapples with the loss of her colleagues and encounters a mysterious woman, Mika, who introduces her to an ocean defense organization called SOS (Save Our Seas).
The plot thickens as it’s revealed that a shark, Lilith, which Sophia had previously encountered, is now in the freshwater under Paris. The film delves into themes of climate change and pollution, suggesting that these factors have caused Lilith’s unusual behavior and presence in the river. As the story unfolds, the characters face challenges from both the shark and bureaucratic indifference, leading to a series of tense and life-threatening encounters.
The climax of the film is marked by a city-wide triathlon event that becomes the backdrop for a dramatic showdown between humans and the shark. The narrative raises questions about the consequences of human actions on the environment and other species, culminating in a disaster that serves as a metaphor for ecological imbalance.
The movie straddles two approaches: the unique path of character development and the familiar territory of shark attack films. Initially, “Under Paris” charts its own course, but it later echoes Spielberg’s “Jaws.” The introduction of an International Swim Event in the Seine adds to the déjà vu, complete with a stubborn mayor who ignores the mounting death toll. As the bloodbath ensues, the film borrows from messier shark movies, leaving it feeling disjointed and unfocused. Directed by Xavier Gens, “Under Paris” is noted for its suspenseful set pieces and the tension it builds throughout the film. While it doesn’t offer deep exploration of its ecological themes, it stands out as an engaging horror blockbuster that also serves as a reminder of the importance of respecting scientific evidence and the natural world. Overall, the film is an intense and thrilling watch that also prompts reflection on our environmental responsibilities.
Despite its flaws, “Under Paris” fails to evoke genuine tension or fear. While killer-shark movies persist, filmmakers must bring something fresh to the genre. Unfortunately, this film only reaches halfway, leaving it destined to be overshadowed by YouTube supercuts of its own shark attacks. Perhaps simplicity would have served it better, appealing to a broader audience seeking thrilling tension without distractions. In summary, “Under Paris” is a standout shark film that takes itself seriously without sacrificing entertainment.
