Stars: Bérénice Bejo, Nassim Lyes, Léa Léviant, Anaïs Parello, Anne Marivin | Written by Xavier Gens, Yannick Dahan, Maud Heywang | Directed by Xavier Gens

With its deceptively simple shark-in-Paris set-up, you could be thinking that Under Paris (which is currently streaming on Netflix), was the sort of cheap-looking sharksploitation nonsense that the SyFy channel put out on a regular basis. Not a bit of it. Directed by Xavier Gens (Lupin), it’s a terrific shark-based thriller that has a lot of gory fun with its premise and even delivers a few surprises. Netflix really missed a trick by not calling it Shark de Triomphe though..

Under Paris begins with a prologue in which expert shark researcher Sophia (Bérénice Bejo) has her entire team -including her husband- eaten by a giant shark named Lilith, while on a shark-tagging trip in the heavily polluted Great Pacific Garbage Patch. Three years later and the...

Netflix's Under Paris has fans worldwide enthralled, partially thanks to 33-year-old star Anaïs Parello as she becomes a hot topic online.

Under Paris is making headlines as the next great shark movie, featuring a grieving scientist forced to embrace her past after a shark encounter in the Seine.

In the film, Anaïs Parello portrays a key supporting role as a researcher named Jade.

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Rolling off their partnership on Studiocanal’s “‘Mayhem!” (“Farang”) and Netflix hit movie “Watch Under Paris,” popular genre filmmaker Xavier Gens (“Gangs of London”) is joining forces with Vincent Roget and Eric Lavaine’s banner Sameplayer to launch a new production company.

Named Good Players, the Paris-based company will aim at developing and producing action, thriller, aventure, fantasy and horror movies that have an international appeal. The inaugural slate of projects includes “Les Opposums,” directed by Eva Munoz (“Hannya”); “Drive” by Abel Danan; “C’est pas nous les diables” by Meryl Estragnat (“Promenons-nous”), and “Ferris Wheel” by Julien Hosmalin (“Magic World”). These projects will enter production between this year’s second half and end of 2025.

Gens, who is based in Paris, is also currently developing with Netflix “Malin Fors,” a gritty series based on Mons Kallentoft’s Scandinavian novels. Gens, who will produce via Good Players and direct, said the...

From 2010’s The Dead and its sequel to 2015’s Never Let Go, Howard J Ford has formed a habit of cracking out intense, highly distinctive thrillers featuring terrific stunt work, and The Ledge will not disappoint his fans. It begins with a simple but powerful premise. Kelly (Brittany Ashworth) is on a climbing holiday with her friend Sophie (Anaïs Parello) when they meet a group of young men. Kelly is tired and goes to bed early, but Sophie wants to stay up drinking with them. When things get out of hand and Sophie is killed, Kelly, who decided to go looking for her, captures the act on her camera, but is seen doing so. There’s no way she can outpace four guys, all taller than her, on the ground, so the only thing she can go is to grab her climbing gear and go up.

What follows is a.

Running away from a villain is familiar in thrillers and horror films. These scenes take place primarily on foot, in open or enclosed spaces, and often in the dark to intensify the stakes and possible deadly outcome for the film’s protagonist – but they always put up a fight. It isn’t often we see a chase executed in such a unique way like in The Ledge. Howard J. Ford’s film sees a woman’s life literally hang in the balance as she climbs the face of the 11 thousand foot Dolomite Mountains to escape the hunters on her tail.

Gearing up for an epic climb is Kelly (Brittany Ashworth) and Sophie (Anaïs Parello). An opening shot of the Italian mountain range accompanied by an energetic score emphasizes what a thrilling feat this will be for them, but that’s shattered when a group of guys shows up. Josh (Ben Lamb...