How To Make A Killing brings you to unexpected terrain, film noir. But it does deal with some of themes of your previous films…  
It’s almost necessarily so: I cannot, and I do not want to change my DNA. And so, all my films do have a common denominator. Often a personal relationship. In Rolling To You there was a couple, in Rumba Therapy, a father and daughter. And there is a couple in How To Make A Killing. It’s never calculated, it’s never done on purpose. It’s simply indispensable for me. If I made a film without that, I would feel that something was missing. I would feel like I’m cheating. And I don’t want that.

What did the film noir universe contribute?
Something that was more in the background in my previous films: the characters’ roots in reality. How To Make A Killing clearly shows that. Via the context and the details: I wanted us to know that Michel and Cathy shop for groceries at a Super U. From the very start, I made it clear to the crew that we were not making an “American” film. Even though I love that kind of cinema, this is a French film with very French characters, who wear French anoraks, take their kids to school… Even the gendarmes look like real gendarmes.

So important, that even its title roots your film in a specific region, outside the major cities?
That was my first desire. Even before coming up with the story, I wanted a film that takes place in the provinces, in the country, among its inhabitants…

Is that also what oriented you toward a crime film, which very often do take place in the provinces?
Exactly. And that is what may astonish my audience who will feel that this is a very distant world from the one inhabited by my usual characters.  But that procedure is much the same as when I began to write comedy sketches, whose characters were in fact very different from me. How To Make A Killing comes closer to my own tastes as a member of the audience. Even though I do love comedies, I am more naturally drawn to crime films.  

This incursion into film noir invited you onto the terrain of morality and ethics, whereas your previous films revolved mostly around the idea of lies…
Clearly. The title was even “Money can’t make you happy, my ass!” I wanted the film to be as amoral as possible. I wanted to avoid the classic terrain expected from characters in a comedy. Everyone is pretty-looking, nice to know? No! In the real world, not everyone is necessarily pretty to look at or nice to know.

And for the other roles you called on actors you are not usually associated with... Did that also have to do with your desire to enlarge your usual universe?
I went so far as to change casting directors on this film for one more specialized in “auteur” films.  Ultimately, there is only one actor in How To Make A Killing who comes from my universe. Christophe Canard, who plays the priest. All the others, from the forest ranger to the barmaid, come from another universe. Even for minor scenes: like the woman with her babies at the gendarmerie reception desk. My casting choices were in line with my desire to give the film another, more realistic feel.

Laure Calamy and Kim Higelin remain the most unexpected...
I knew that Laure could play both funny and tragic. But it’s what she did in Full Time that convinced me: bursting with energy but at the same time fragile. That was the Laure I wanted, not the more comical one in My Donkey, My Lover, And I. I couldn’t find the right actress for Kim’s part. I auditioned a lot of actresses. Very good actresses. But they all lacked that something original needed for the role. I was about to resort to street casting when someone suggested Kim. Her originality, her contemporaneity won me over. And then there is Joséphine de Meaux. Her aura of melancholy has always moved me. Aside from the empathy audiences feel for her.

On the other hand, Benoît Poelvoorde seems more in line with your comic universe. But you pushed him toward a more subdued register than he is used to.
Generally speaking, I immediately told all the actors: “Be careful, we’re going to make people laugh, but this is not a comedy. You need to act serious all the time. It will only be funny when it has to be.”  That is how I directed them, and they all respected my indications. I think that Benoît was delighted to abandon himself to his character. It would be a lie to say that we’ve never seen him like this before, but I think that here he was able to combine all of his various acting styles. Moreover, he had some voice problems during the shoot. At first, I was afraid that we might have to post-synchronize him. But no, that hoarseness brought a little something extra to the role.

How to Make a Killing / Un ours dans le Jura is now playing in cinemas.

Foto: (c) Julien Panié (c) 2024 Gaumont, Pour toi Public productions, France 2 Cinéma.

Directed by Paul Feig, The Housemaid stars Sydney Sweeney as Millie, a struggling young woman who is relieved to get a fresh start as a housemaid to Nina (Amanda Seyfried) and Andrew (Brandon Sklenar), an upscale, wealthy couple… but soon learns that the family’s secrets are far more dangerous than her own.

Principal photography began on January 3, 2025, in New Jersey, and it is expected to wrap on February 14. Michele Morrone will also star in the upcoming movie.

The screenplay is by Rebecca Sonnenshine, based on the bestselling novel by Freida McFadden.

The novel has been on the New York Times bestseller list for more than a year, 75 weeks and counting, and on the Amazon bestsellers list for 98 weeks and counting. It also has a record-breaking half-billion pages read on Kindle and is the No. 2 most-read title for Kindle’s 10th anniversary behind only the Harry Potter series. It has sold more than 3.6 million copies in English has been translated into 40 languages.

The book is available in Romania (Menajera – Editura Bookzone) and in Hungary (A téboly otthona – published by Álomgyár Kiadó).

The Housemaid is scheduled to be released in December 25, 2025. Prorom will release the movie in the same period in Eastern Europe.

Elevation is a post-apocalyptic monster movie in which Mackie plays a father struggling to survive in the post-apocalyptic Rocky Mountains, where the higher you go in elevation, the safer you are.

A single father (Anthony Mackie) and two women (Morena Baccarin and Maddie Hasson) venture from the safety of their homes to face monstrous creatures to save the life of a young boy.

The action thriller is directed by George Nolfi, known for the 2011 Philip K. Dick-based film The Adjustment Bureau, which co-starred Anthony Mackie.

Prorom is releasing Elevation this weekend exclusivly in cinemas.

In this crime thriller directed by Hans Petter Moland, Liam Neeson plays an aging Boston gangster who, after receiving a terminal diagnosis, attempts to make things right with his estranged daughter Daisy (Frankie Shaw) while rectifying his life of crime and trying to do some good before it’s too late.

Meanwhile, he has to convince his boss Mr. Conner (Ron Perlman) that his mind isn’t slipping as he figures out who ordered a hit on him.

The film also stars Yolonda Ross, Daniel Diemer, Javier Molina, Jimmy Gonzales, Josh Drennen, Deanna Nayr Tarraza and Terrence Pulliam.

Producers are Roger Birnbaum, Michael Besman, Warren Goz, Eric Gold with Mark Kimsey, Tina Wang, Michael Rothstein, Samuel Hall, Jamie Buckner as executive producers.

Prorom is releasing Absolution in cinemas this weeekend.

Joel Kinnaman plays Shaw, a Boston Police Detective who suffers an on-the-job accident which leaves him newly deaf. Sixteen months later, he and his friend and partner (Mark Strong) must battle a team of corrupt cops attempting to eliminate a deaf murder witness in the apartment building where she lives.

Sandra Mae Frank, who is actually deaf, does a great job playing Ava - a woman struggling with her own demons as she tries to stay alive, which now includes trying to make Shaw feel better about his recent hearing loss.

The Silent Hour is directed by American filmmaker Brad Anderson, director of the films The Machinist, Transsiberian, Vanishing on 7th Street, The Call, Stonehearst Asylum, Beirut, Fractured, Blood, and episodes of the series Devil in Ohio and Invasion most recently.

The screenplay is written by Dan Hall. Produced by Eric Paquette.

Prorom releases The Silent Hour in cinemas in Romania on October 11.

Based on one of the best-selling videogame franchises of all time, this action-adventure-comedy follows Lilith (Cate Blanchett), an infamous treasure hunter with a mysterious past, who reluctantly returns to her home planet of Pandora to find the missing daughter of Atlas (Edgar Ramírez), the universe’s most powerful S.O.B.

She forms an unexpected alliance with a ragtag team of misfits ― Roland (Kevin Hart), once a highly respected soldier, but now desperate for redemption; Tiny Tina (Ariana Greenblatt), a feral pre-teen demolitionist; Krieg (Florian Munteanu), Tina’s musclebound, rhetorically challenged protector; Dr. Tannis (Jamie Lee Curtis), the scientist who’s seen it all; and Claptrap (Jack Black), a persistently wiseass robot.

These unlikely heroes must battle alien monsters and dangerous bandits to find and protect the missing girl, who may hold the key to unimaginable power. The fate of the universe could be in their hands ― but they’ll be fighting for something more: each other.

Long before producing the film, Ari Arad, whose credits include the recent hit Uncharted, had enjoyed playing the game upon which it’s based, calling it “cool and weird, and one of the more exciting and emotional games I’ve experienced. The game is action-packed but there’s a sweetness to it, which I thought was unique.”

Another key figure in Tiny Tina’s life is her stalwart, hulking, and loyal bodyguard Krieg. “It’s a bizarre relationship,” says Roth, “because both Tiny Tina and Krieg have been discarded. They are two misfits who take care of one another; there’s love and acceptance between them, in a big brother-little sister type way. Tiny Tina can take care of Krieg when he needs it, and he can and will kill anyone to protect her. The film is very much about the family you choose; within that family you learn to sacrifice and that’s when you are at your strongest.”

“The difference between Krieg and all the other Psychos is the soft spot in his heart he has for Tiny Tina,” says Florian Munteanu, who is best known for portraying fearsome boxer Viktor Drago in Creed II and Creed III.

According to Roth, it’s a perfect fit between actor and role. “Florian grounds Krieg in a way I didn’t know was possible. He brings real humanity and multiple layers to a character that on the surface seems totally insane and savage.”

Principal photography took place in Budapest, where the BORDERLANDS art direction teams, led by production designer Andrew Menzies, constructed Pandora from Hungary’s unique geological features and from inside Budapest’s formidable sound stages.

There, they brought to life Pandora’s mix of the wild American West, humor, and an epic fantasy space adventure.

Budapest provided impressive otherworldly locations, heightened by director of photography Rogier Stoffers’s striking cinematography, including rock quarries, mines, and underground tunnels.

Production also took over the whole of Stern Studios. “I love that we got to invent everything,” comments Roth. “It’s a lawless world, where everyone is figuring out how to just survive.”

Award-winning filmmaker Eli Roth made his directorial debut in 2002 with the hugely successful film Cabin Fever, and his follow-up titles – Hostel, Hostel Part II, Knock Knock, and Death Wish – have earned him critical praise and a reputation as a true innovator in the horror space.

Prorom distributes Borderlands in Romania, Hungary, Czech Republic, Slovakia and Bulgaria.