Colours Of Time ★★★

Released: 17 April 2026

Director: Cédric Klapisch

Starring: Suzanne Lindon, Vincent Macaigne, Cecile de France, Julia Piaton, Zinedine Soualem, Abraham Wapler, Paul Kircher

The anticipation of a new Cédric Klapisch film, such as Colours of Time, yields a certain type of joy at the prospect of being immersed within his typical explorations of human interactions with family, strangers, societal realities, alongside giving a casting role to Paris and other French locations. Ever since the L’Auberge Espagnole (Pot Luck) trilogy starring Audrey Tatou and Romain Duris, with its representations of that carefree exuberance of youth as an Erasmus student, Klapisch has been renowned for coming-of-age ensemble films unpicking the flaws and sensibilities of his characters. He is also another director with a preference for working with the same troupe of actors across several films such as Romain Duris, François Civil, Zinedine Soualem and Cécile de France. Indeed, de France makes an appearance within Colours of Time as Klapisch returns to analysing the youth and their familial angst and remarkably, Soualem has starred in all of Klapisch’s films to date! This is an enjoyable coming of ager with a difference as it criss-crosses with a period drama charmingly straddling both past and present, with timeliness in 1895 and 2025, as four estranged cousins are reunited over their inheritance of a foregone relative’s house in Normandy and take a trip down memory line discovering pieces of their family tree in the process.

Colourful, whimsical and with the journey of progress firmly within its grasp there is a feminist spirit coupled with a love of the arts underpinning the film’s disparate concepts. Adèle, played by Suzanne Lindon, is the long lost ancestor joining all of the branches of a disparate family tree, a woman who was, in 19^th century France, perhaps too progressive for her time wishing to seek her fortune outside of her provincial origins and seeking those broken family links within Paris. She was a traveller, searching for her mother, and adventurer and parallels are drawn between her and the youngest family member, Seb (Abraham Wapler), a videographer, and their love of the arts.

It is through Seb’s eyes that we journey into Adèle’s past or his interpretation of her past as she undertakes her own process of self-identity and stumbles upon France’s golden age, the Belle Epoque, as part of her discovery. Here, Klapisch takes the delight in showcasing a plethora of France’s renowned artists such as Monet, Degas and Renoir alongside photographers such as Felix Nadar. Such impressionistic scenes are beautiful to watch and may induce envy to be living in such times with these nods to Paris’ past which are reminiscent of Midnight in Paris with one stimulant fuelled, hilarious scene!

In the present, Seb’s cousin Céline (Julia Piaton) is the outlier in their group – not just as the only woman but as the only one following a corporate pathway, as an engineer, as opposed to arts/ humanities based career trajectory that the others followed. The message may also be that she is ahead of her time, in an industry facing revolutionary changes, or facing similar difficulties in being taking seriously within her career field as an independent woman. Of course, there is the inevitable conflict with one diametrically opposed cousin in Guy (Vincent Macaigne), as an enemies become friends trope, but the film extends beyond the superficial conflicts to show that particular circumstances and family needs can unite even the most disparate bunch of people.

There are many interweaving threads within Colours of Time, which do not always coalesce smoothly, and it is Adèle‘s background that is by far the most interesting. Therefore the interspersing scenes of the cousin’s discovery of artefacts within the present depicting facets of her life for them to piece together do feel jarring. The cousins all perform well together as an ensemble and elicit that familiar sensation from L’Auberge Espagnole of strangers from different cultures thrown together in circumstances to live and work together. One outstanding scene is Klapisch’s appreciation for teachers when Soualem’s character Abdel is given an emotional celebration for his career in a moment where the actor’s real life daughters are even present!

What also remains striking, in Colours of Time, is not just the glorious panoramic scenes of the beautiful countryside combined with the luminous Parisian streets past and present but also Klapisch’s love of the arts and indictment of modern-day disregard of existing art forms. The opening sequences depict art gallery attendees in front of Monet’s triptych where many are more concerned with taking selfies of themselves in front of the works of art rather than appreciating the paintings. One model, within a photo shoot, on discovering a clash between the colours of her dress and the painting suggests using visual effects to change the painting! Klapisch’s despair and commentary in those moments is heard loud and clear which elevate the film’s substance!

The comparison that also draws an inward laugh, within Colours of Time, is of a photographer in the past casually mentioning the 2 weeks to take a photo! Inevitably, there are references to just how many photos can be taking instantly on a smartphone per minute! The reference alludes to Klapisch’s seeming frustrations with the disposable nature of modern-day society which remains disaffected and desensitised within many arenas of life!

Overall, this is a feel good film containing two sets of ensembles that work well together and explore that human connection. Its delightful imagery will charm audiences and perhaps inspire many to take a stroll through the back streets of Montmartre and across Pont Louis Philippe. The film’s message about appreciation of the arts and family will resonate with many and will certainly be a good recipe for life to embrace the simpler aspects of life and take the moment to absorb some Monet paintings in their entirety as the masterpieces that they are!