---
title: "A Prophet"
year: 2009
kind: "film"
canonical: "https://film.one/film/a-prophet"
fi1m_id: "a-prophet"
imdb_id: "tt1235166"
tmdb_id: 21575
wikidata_id: "Q1061541"
fi1m_score: 86
critics_score: 83
critics_reviews: 14
published: "2026-09-15"
updated: "2026-09-18T08:38:01.155120+00:00"
region: "PL"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# A Prophet (2009)

Directed by Jacques Audiard · 2h 35m · PISF 16 · Crime, Drama

## Identity

A Prophet

- **Canonical:** https://film.one/film/a-prophet
- **Type:** Film
- **Fi1m ID:** a-prophet
- **IMDb ID:** tt1235166
- **TMDB ID:** 21575
- **Wikidata ID:** Q1061541
- **Same entity:** https://www.imdb.com/title/tt1235166/, https://www.themoviedb.org/movie/21575, https://www.wikidata.org/wiki/Q1061541

**Fi1m score: 86** · Critics 83 from 14 reviews

*In a sentence:* We would be more reassured if this prison were worse at teaching crime

> Jacques Audiard’s prison drama is gripping, brutal and unusually attentive to how power works. Tahar Rahim makes Malik’s education convincing, even when the plotting becomes a little too tidy.

## Synopsis

Young French-Arab inmate Malik El Djebena (Tahar Rahim) enters a prison governed by rival gangs and shifting allegiances. As an outsider, he has to work out who holds power and what survival requires of him. Violence and calculation shape an education in organised crime, with each alliance carrying risks. Jacques Audiard directs this crime drama, whose cast includes Niels Arestrup as César Luciani, Adel Bencherif as Ryad and Hichem Yacoubi as Reyeb. The story stays close to Malik as he learns the rules of an institution with a criminal hierarchy of its own.

## Review

Jacques Audiard’s *A Prophet* is a gripping prison drama that earns most of its 155 minutes. The young French-Arab inmate Malik El Djebena, played by Tahar Rahim, arrives as an outsider in a hierarchy he has to learn quickly. Audiard takes his education in organised crime seriously, giving the business of alliances as much attention as the violence. We understand the attraction of becoming competent at something when incompetence is dangerous. The film makes that an uncomfortable feeling to have about a criminal’s progress.

Rahim is the chief reason it works. He makes Malik’s growing resourcefulness believable without asking us to mistake survival for innocence. The cunning feels acquired under pressure, and there is enough vulnerability in the performance to keep us aware of what makes that pressure effective. We become interested in how Malik reads the people around him, which helps us follow the shifting allegiances. Niels Arestrup is forceful as César Luciani, but Rahim remains the person we watch most closely.

Stéphane Fontaine’s cinematography gives the confinement an unpleasant immediacy, while Michel Barthélémy’s production design makes the prison convincing as a place where people have to live. The physical surroundings matter because this is a story about who can control them. We were horrified by the close-quarters violence: there is too little room for the distance that usually makes screen brutality bearable. Audiard makes us feel the difficulty and terror of it. The attention to prison life keeps that violence from becoming an occasional attraction between stretches of plot.

Juliette Welfling’s editing is crucial to keeping the complicated allegiances legible. We have to follow Malik’s changing understanding of the prison as well as the people within it, and the film rarely lets that work become homework. Its patience is useful. The accumulation of institutional detail gives the criminal politics weight, so a change in someone’s position can hold our attention without another violent encounter. For a long crime film, it has a firm sense of what deserves our time.

The screenplay, by Audiard and Thomas Bidegain, is less persuasive when the workings of the plot become too easy to recognise. Some developments feel arranged to demonstrate Malik’s progress, and we begin to anticipate what a passage is doing before it has finished. That is a limited complaint, but it matters in a film otherwise so alert to awkward particulars. Rahim keeps the progression credible. We would have welcomed a little more of the messiness that makes the prison itself convincing.

The poetic passages are also uneven. Their presence makes sense: relentless realism can become a habit as limiting as any other, and Audiard wants access to more than the practical facts of Malik’s situation. Alexandre Desplat’s score contributes to their heightened mood, which we find less compelling than the tension generated by the actors. The film is already rich in feeling. It does not always need the extra emphasis.

Those reservations do not diminish the hold of the central performance or the care taken over this criminal education. Prison dramas often depend on our wanting someone to get out; here we are kept busy worrying about what Malik is learning inside. The familiar gangster story remains recognisable, but Audiard gives the daily negotiation of power enough detail to make it worth following again. See it for Rahim, and be prepared for violence that gives us no comfortable place to watch from.

*Fi1m score 86, published 15 September 2026.*

## What the critics say

Most critics respond warmly to A Prophet, praising its tense prison setting, detailed account of criminal power and Tahar Rahim’s performance. The reviews repeatedly single out his convincing portrayal of a young inmate learning to survive through observation, alliances and violence. Audiard’s direction also draws broad approval for making the routines and hierarchies of prison life absorbing, while allowing the crime story to carry a wider examination of French society without losing its pace.

The reservations concern how securely its realism sits alongside its more poetic passages, and how much invention the familiar gangster framework permits. Variety finds some plotting mechanical, while The Hollywood Reporter notes tonal clashes and excessive length. The clearest dissent comes from /Film, which admires the craft and Rahim but finds the story formulaic and its depth overstated; most critics regard the institutional detail and personal transformation as enough to distinguish it.

## Straight answers

**Is A Prophet worth watching?**

*A Prophet* is worth watching for anyone who can take a long, brutal prison drama, and we scored it 86. Tahar Rahim makes Malik's education in organised crime believable, and Jacques Audiard gives the shifting alliances as much care as the violence. Our reservation is that some of the plotting becomes too tidy, and the poetic passages are uneven.

**How long is A Prophet, and what is it rated?**

*A Prophet* runs 2h 35m and is rated 16 by the PISF in Poland. It is a crime and drama film.

**Where can I watch A Prophet in Poland?**

*A Prophet* is not on any streaming or rental service in Poland at the moment. It is available in 7 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is A Prophet, and is it suitable for children?**

*A Prophet* is an 18 certificate in the UK and not suitable for children. The close-quarters violence is the reason: we were horrified by it, because the film allows none of the distance that usually makes screen brutality bearable. Adults who are squeamish should know that Audiard means them to feel the terror of it.

**How does A Prophet compare to Pixote?**

*A Prophet* and [*Pixote*](https://film.one/film/pixote) are both harsh accounts of a young person learning crime as a means of survival, but they differ in setting and scale. Audiard's film is an adult prison drama built on the politics of alliances; Babenco's follows children abandoned to adult neglect. We rate *A Prophet* the more gripping and better made, though both suffer from writing that occasionally arranges events too predictably.

**What should I watch after A Prophet?**

After *A Prophet*, try [*Le Trou*](https://film.one/film/le-trou) (1960, Fi1m 88): For prison suspense built from patient observation and the practicalities of escape. Then [*Pixote*](https://film.one/film/pixote) (1980, Fi1m 88): Another harsh account of a young person’s education in crime and survival; and [*Gomorrah*](https://film.one/film/gomorrah) (2008, Fi1m 84): For organised crime shown through daily routines, local loyalties and limited choices.

### Reviews we read (21)

- **Little White Lies**, Dan Brightmore (3/5/5): The critic hails the film as a modern gangster classic that combines the epic scope of The Godfather with raw brutality, immersing viewers in a shifting prison hierarchy and feudal power system. Rahim's transformative performance as the underdog who rises through cunning and violence is singled out as breathtaking and convincing. [Read](https://lwlies.com/reviews/a-prophet/)
- **The AV Club**, Noel Murray (A-): Distinguishes itself through meticulous attention to the mechanics of prison life and the protagonist's coming-of-age as a criminal. A well-told, absorbing pulp story that is exciting and poetic, comparable to a Gallic Goodfellas. [Read](https://www.avclub.com/a-prophet-1798164404)
- **The Guardian**, Peter Bradshaw (90/100, inferred): The critic finds it a blisteringly powerful and gripping prison-gangster picture that establishes itself as a modern classic from the opening frames. He singles out the confident, intentional direction and the lead performance by newcomer Tahar Rahim as particularly compelling. [Read](https://www.theguardian.com/film/2010/jan/21/a-prophet-review)
- **Film Comment**, Amy Taubin (85/100, inferred): The review praises the film's gripping organized-crime thriller elements and Tahar Rahim's standout performance as the resourceful antihero Malik. It highlights Audiard's distinctive blend of lyricism, violence, and detailed institutional depiction. [Read](https://www.filmcomment.com/article/a-prophet-review/)
- **IndieWire**, robbiefreeling (80/100, inferred): Examines Malik's rise in the prison underworld as a stranger navigating alliances and power. Highlights Audiard's focus on the protagonist's personal transformation and the film's blend of realism and style. [Read](https://www.indiewire.com/news/general/the-stranger-audiards-a-prophet-225823/)
- **Screen Daily** (80/100, inferred): The critic praises Audiard's unimpeachable command in extending his range with this violent, gripping prison drama that succeeds as both hard-edged social realism and compelling genre entertainment. The detailed depiction of prison life, organized crime politics and the young inmate's rise through the ranks is highlighted as immensely detailed and cynically matter-of-fact. [Read](https://www.screendaily.com/-a-prophet-un-prophete/5001221.article)
- **Time Out**, Dave Calhoun (4/5): The review commends Audiard's skill in plunging viewers into a vicious parallel prison world that blends state-of-nation commentary with a terrific crime flick, praising the mature handling of violence and the sheer force of the direction. It singles out the claustrophobic murder scene and the realist style for particular impact, despite some puzzling flights of fancy. [Read](https://www.timeout.com/movies/a-prophet-1)
- **Variety**, Justin Chang (80/100, inferred): The review describes a tough, intricate account of a young French-Arab inmate's rise through prison gangs, noting Audiard's jangly style and strong lead performance amid a complex web of allegiances. It calls the film solid pulp fiction with arthouse appeal despite some mechanical plotting. [Read](https://variety.com/2009/film/markets-festivals/a-prophet-1200474855/)
- **Empire**, Andrew Male: The critic finds Audiard’s expansive prison drama strains against genre conventions with thrilling invention and a masterful lead performance. It is ultimately a modern French crime epic whose flaws do not diminish its passages of great power. [Read](https://www.empireonline.com/movies/reviews/prophet-review/)
- **Evening Standard**: The critic hails the film as a masterpiece and the best portrait of French society since La Haine. It is praised for its gripping, far-reaching exploration of life on the margins through an authentic prison world. [Read](https://www.standard.co.uk/culture/film/a-prophet-is-a-masterpiece-from-the-margins-7418309.html)
- **Slant Magazine**, Nick Schager: Reenergizes the prison movie through painstaking attention to particulars of the locale, power dynamics, and Malik's survival-driven rise. Commends the taut, gritty filmmaking with poetic flashes, strong lead performance, and refusal to sentimentalize or preach. [Read](https://www.slantmagazine.com/film/a-prophet/)
- **The Hollywood Reporter**: A powerful prison drama and old-fashioned Bildungsroman in intensely realistic disguise. Praises the raw intensity of hyper-realistic encounters, superb acting by newcomer Tahar Rahim, and Audiard's deconstruction of power structures, though notes some tonal clashes and excessive length. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/prophet-film-review-93162/)
- **The Independent**: The critic calls Audiard’s prison thriller an education in gangsterism for its young protagonist. It stands out for its realism and political engagement rarely seen in American or British prison films. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/dvd-a-prophet-1992328.html)
- **The New York Times**, Manohla Dargis (Critic's Pick): The critic praises the film's moral depth and Audiard's assured direction of a prison story that tracks a young Arab inmate's transformation through cunning and violence. The lead performance and the film's ethnographic detail on prison life are highlighted as strengths. [Read](https://www.nytimes.com/2010/02/26/movies/26prophet.html)
- **Total Film**: The critic describes the film as an excellent, gritty Gallic take on prison drama with a staggeringly assured lead performance. It stands out for its convincing milieu created with real cons and its gripping story of ascent. [Read](https://www.gamesradar.com/a-prophet-review/)
- **The Playlist**, Kimber Myers (A-): The review calls it a gritty, gripping gangster film in the vein of Scarface but better, crediting Audiard's skillful direction and especially Tahar Rahim's breakthrough performance as the ambitious, cunning protagonist. [Read](https://theplaylist.net/review-un-prophete-is-gritty-gripping-20100226/)
- **Eye for Film**, Anton Bitel (85/100, inferred): The critic praises the film's gripping thriller elements and grim realism as a sociopolitical exposé of prison life, while highlighting its concern with processes of education, assimilation and transfiguration. [Read](https://www.eyeforfilm.co.uk/review/a-prophet-film-review-by-anton-bitel)
- **Den of Geek**, Michael Leader (4/5): The critic calls it the first great film of 2010, a gripping crime thriller with freshness and depth. Praise goes to the tense prison setting, strong performances especially Rahim's, and Audiard's stylish direction mixing visceral action with poetic elements. [Read](https://www.denofgeek.com/movies/a-prophet-review/)
- **Paste**, Sean Edgar (80/100, inferred): The critic praises the film's realistic, documentarian take on prison crime syndicates and its exploration of racial tensions in France through the protagonist's rise. Strong performances, especially by Tahar Rahim and Niels Arestrup, fuel the two-and-a-half-hour epic into a mesmerizing slow burn. [Read](https://www.pastemagazine.com/movies/jacques-audiard/a-prophet-review)
- **The Skinny**, Gail Tolley (4/5): The review describes it as a remarkably assured prison drama where Audiard outdoes Scorsese, with riveting pace and tension from the protagonist's rise in the criminal hierarchy. It singles out the quietly effective final scene for praise. [Read](https://www.theskinny.co.uk/film/new-releases/a-prophet)
- **/Film**, Hunter Stephenson (60/100, inferred): The critic finds the film engrossing and well-crafted with a memorable lead performance by Tahar Rahim but ultimately formulaic and borderline genre fare that does not fully live up to its hype or achieve the depth of classics like The Godfather. [Read](https://www.slashfilm.com/507276/movie-review-a-prophet-is-the-cannes-fave-really-a-godfather-esque-masterpiece/)

## Details

- **Director:** Jacques Audiard
- **Director:** Jacques Audiard
- **Screenplay:** Thomas Bidegain, Jacques Audiard
- **Cinematography:** Stéphane Fontaine
- **Editor:** Juliette Welfling
- **Music:** Alexandre Desplat
- **Production design:** Michel Barthélémy
- **Costume design:** Virginie Montel
- **Producer:** Martine Cassinelli, Lauranne Bourrachot, Pascal Caucheteux
- **Cast:** Tahar Rahim as Malik El Djebena; Niels Arestrup as César Luciani; Adel Bencherif as Ryad; Reda Kateb as Jordi; Hichem Yacoubi as Reyeb; Jean-Philippe Ricci as Vettori; Gilles Cohen as Prof; Pierre Leccia as Sampierro
- **Runtime:** 2h 35m
- **Certificate (PISF):** 16
- **Release (Poland):** 21 May 2010
- **Genres:** Crime, Drama
- **Budget:** $13 million
- **Box office:** $18 million
- **Trailer:** https://www.youtube.com/watch?v=l69ARbQt-Ko

## Where to watch in Poland

Not streaming, renting or buying in Poland at the last check.

Also available in: BE, CA, ES, GB, IT, NL, US. Add `?region=XX` to this URL for another country.

## Awards

- Goya Award for Best European Film 2011: Goya Award for Best European Film (nominated)
- International Cinephile Society Award for Best Director 2011: International Cinephile Society Award for Best Director (won)
- International Cinephile Society Award for Best Film 2011: International Cinephile Society Award for Best Film (won)
- International Cinephile Society Award for Best Supporting Actor 2011: International Cinephile Society Award for Best Supporting Actor (won)
- Polish Academy Award for Best European Film 2011: Polish Academy Award for Best European Film (nominated)
- Academy Awards 2010: Best International Feature Film (nominated)
- BAFTA Film Awards 2010: Best Film Not in the English Language (won)
- BIFA for Best Foreign Independent Film 2010: BIFA for Best Foreign Independent Film (won)
- César Award for Best Actor 2010: César Award for Best Actor (won)
- César Award for Best Cinematography 2010: César Award for Best Cinematography (won)
- César Award for Best Costume Design 2010: César Award for Best Costume Design (nominated)
- César Award for Best Director 2010: César Award for Best Director (won)
- César Award for Best Editing 2010: César Award for Best Editing (won)
- César Award for Best Film 2010: César Award for Best Film (won)
- César Award for Best Male Revelation 2010: César Award for Best Male Revelation (won)
- César Award for Best Music Written for a Film 2010: César Award for Best Music Written for a Film (nominated)
- César Award for Best Original Screenplay 2010: César Award for Best Original Screenplay (won)
- César Award for Best Production Design 2010: César Award for Best Production Design (won)
- César Award for Best Sound 2010: César Award for Best Sound (nominated)
- César Award for Best Supporting Actor 2010: César Award for Best Supporting Actor (won)
- David di Donatello for Best European Film 2010: David di Donatello for Best European Film (nominated)
- Independent Spirit Awards 2010: Best Foreign Film (nominated)
- International Submission to the Academy Awards 2010: International Submission to the Academy Awards (nominated)
- National Society of Film Critics Award for Best Foreign Language Film 2010: National Society of Film Critics Award for Best Foreign Language Film (nominated)
- Cannes Film Festival 2009: Cannes Film Festival Grand Prix (won)
- European Film Academy Prix d'Excellence 2009: European Film Academy Prix d'Excellence (won)
- European Film Award for Best Actor 2009: European Film Award for Best Actor (won)
- European Film Award for Best Cinematographer 2009: European Film Award for Best Cinematographer (nominated)
- European Film Award for Best Director 2009: European Film Award for Best Director (nominated)
- European Film Award for Best Film 2009: European Film Award for Best Film (nominated)
- European Film Award for Best Screenwriter 2009: European Film Award for Best Screenwriter (nominated)
- Golden Globes 2009: Best Non-English Language Film (nominated)
- Louis Delluc Prize 2009: Louis Delluc Prize (won)
- National Board of Review Award for Best Foreign Language Film 2009: National Board of Review Award for Best Foreign Language Film (won)

## If you liked this

- *Le Trou* (1960), Fi1m 88: For prison suspense built from patient observation and the practicalities of escape — [Fi1m page](https://film.one/film/le-trou.md)
- *Pixote* (1980), Fi1m 88: Another harsh account of a young person’s education in crime and survival — [Fi1m page](https://film.one/film/pixote.md)
- *Pusher* (1996): For close attention to criminal work, mounting debts and narrowing options
- *Gomorrah* (2008), Fi1m 84: For organised crime shown through daily routines, local loyalties and limited choices — [Fi1m page](https://film.one/film/gomorrah.md)
- *Starred Up* (2013), Fi1m 84: For a prison drama equally alert to violence, hierarchy and male vulnerability — [Fi1m page](https://film.one/film/starred-up.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/a-prophet