Date Showing Showing On 22, 24, 25 August
Time Showing Monday 6pm, Wednesday 4pm and Thursday 6pm


M 1hrs 56mins
thriller | 2022, France | French

Paris 1942. François Mercier is an ordinary man who only aspires to start a family with the woman he loves, Blanche. He is also the employee of a talented jeweler, Mr. Haffmann. But faced with the German occupation, the two men will have no other choice but to conclude an agreement whose consequences, over the months, will upset the fate of our three characters.


Mature themes and a scene of sexual violence

Fred Cavaye
Original Review
Mark Demetrius,
Extracted By
Allison Edwards
Daniel Auteuil, Gilles Lellouche, Sara Giraudeau, Nikolai Kinski

Watch The Trailer

FAREWELL MR HAFFMANN Trailer (2022) Gilles Lellouche, Drama Movie

Storyline (warning: spoilers)

Set in Paris from May 1941 (i.e. during the Nazi Occupation), this is a tense, superbly written and acted and pitch-perfect morality tale. The themes are large – compromise, duplicity, greed, inhumanity… – but the focus is determinedly narrow, and it’s all the more powerful for that.
Daniel Auteuil plays Joseph Haffmann, an exceptionally talented jeweller who is a Polish Jew, and who arranges for his family to flee to a safe part of France. Haffmann stays behind (very briefly being the plan), hides in the basement and nominally sells the business to his assistant Francois Mercier (Gilles Lellouche).
Mercier does a roaring trade in jewellery, and is decidedly unethical to a point way beyond what might be excusable or unavoidable under the circumstances. What follows is for the most part a three-hander involving these two men and Mercier’s wife Blanche (Sara Giraudeau). All three actors are impressive.
If the premise of the tale is relatively straightforward, you may be assured that there’s a great deal more to it, none of which you should know going in.
Farewell Mr Haffmann feels and looks like a play – most of the film is set inside one building – and was indeed based on a play of the same name by Jean-Philippe Daguerre. But it loses absolutely nothing in the transition to the big screen from any supposed ‘staginess’. This is first-rate drama with considerable cumulative intensity – and a quorum of irony – and it’s unreservedly recommended.
Original review:

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