--- title: "Les Misérables" year: 2019 kind: "film" canonical: "https://film.one/film/les-miserables-2019" fi1m_id: "les-miserables-2019" imdb_id: "tt10199590" tmdb_id: 586863 wikidata_id: "Q63246549" fi1m_score: 77 critics_score: 70 critics_reviews: 18 published: "2026-10-03T01:21:09.676918+00:00" updated: "2026-10-03T01:21:10.092406+00:00" region: "IN" 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." --- # Les Misérables (2019) Directed by Ladj Ly · 1h 44m · Crime, Drama, Thriller ## Identity Les Misérables - **Canonical:** https://film.one/film/les-miserables-2019 - **Type:** Film - **Fi1m ID:** les-miserables-2019 - **IMDb ID:** tt10199590 - **TMDB ID:** 586863 - **Wikidata ID:** Q63246549 - **Same entity:** https://www.imdb.com/title/tt10199590/, https://www.themoviedb.org/movie/586863, https://www.wikidata.org/wiki/Q63246549 **Fi1m score: 77** · Critics 70 from 18 reviews *In a sentence:* Nobody in this police thriller needs a lion cub to make their working day worse > Ladj Ly makes a tense, observant police thriller whose street scenes are stronger than its heavier dramatic turns. We recommend it for its sense of place, with reservations about how insistently it raises the stakes. ## Synopsis After the crowds of a World Cup celebration, the action moves to Montfermeil’s housing estates in the Paris banlieues. Stéphane (Damien Bonnard), Chris (Alexis Manenti) and Gwada (Djebril Zonga) deal with the daily business of policing streets where residents and local factions have their own claims to authority. Keeping order requires more than issuing instructions, and a police check at a bus stop brings the tension into an everyday setting. A lion cub adds a further complication. Stéphane has to find a way to do his job among people whose competing interests make each encounter harder to manage. ## Review *Les Misérables* is a good police thriller, particularly when Ladj Ly lets a routine encounter become uncomfortable without forcing it towards a crisis. He is interested in how authority is exercised among people who must keep living alongside one another once the police have moved on. The World Cup opening supplies a public image of togetherness before the film turns to Montfermeil. That celebration makes the subsequent distrust on the housing estates harder to shrug off. The early street scenes are the reason to watch. There is humour in the encounters, and a sense that the residents have business of their own rather than existing solely to delay the next piece of police work. We felt uneasy during the police check at the bus stop: the encounter makes everyday police authority feel intrusive and unpredictable. Ly gives that discomfort time to register without making everyone present announce a position. Alexis Manenti makes Chris unpleasantly comfortable exercising authority; Damien Bonnard gives Stéphane a watchfulness that suggests he is still taking the measure of what he sees. Djebril Zonga’s Gwada is harder to read, a useful uncertainty within a trio the film could easily have reduced to types. These are persuasive performances, but keeping so close to the officers comes at a cost. Some residents remain vivid figures in the officers’ day when we want to know more about their own. Julien Poupard’s mobile cinematography gives the street scenes a physical closeness that helps make even small confrontations unsettling. The drone photography provides a wider view of the estates without making life below look orderly. Those changes of scale work because the neighbourhood remains recognisable as a place where people live, rather than somewhere prepared for an action sequence. Ly is particularly good at letting its daily activity continue around the police. Flora Volpelière’s editing keeps the encounters moving while allowing enough time for the humour and social friction to register. The pace tightens effectively, although the growing insistence on suspense eventually hurries us past some of the people we would like to know better. Pink Noise’s music adds pressure to scenes that seldom lack it. The unease is more effective when it comes from the conduct of the people on screen, who do not require much encouragement. The writing, credited to Ladj Ly, Giordano Gederlini and Alexis Manenti, is less secure when it pushes for bigger complications. The lion-cub business feels conspicuously arranged, and the more emphatic dramatic turns narrow a film that has been good at noticing several things at once. Nothing needs to be disclosed to say that the later passages press their case too hard. By then, the ordinary exchanges have already made the danger clear. The familiar police-thriller structure gives us a route through the neighbourhood’s competing loyalties, and Ly makes good use of that familiarity. We can follow the immediate disputes while gradually understanding why settling them is so difficult. There is enough close observation within these 104 minutes to warrant an evening for anyone who likes the genre. Choose it for those encounters, with some patience for a script that eventually becomes less willing to let everyday police work supply the tension. *Fi1m score 77, published 3 October 2026.* ## What the critics say Most critics respond positively to Les Misérables, praising its tense police-thriller craft and its close attention to life in the Paris banlieues. The praise clusters around the vivid sense of place, the street-level humour and realism, and filmmaking that makes encounters with unchecked authority feel threatening. Several reviews also value the film’s social urgency, while Julien Poupard’s kinetic cinematography receives particular praise for giving the setting a tangible physical presence. The reservations concern contrivance, uneven character development and a final act that some find too forceful for the more observant scenes preceding it. Variety argues that the police-centred story leaves residents underdeveloped, while The Hollywood Reporter finds the later plotting forced and generic. The spread is broad: most reviews recommend the film despite such reservations, but The Guardian is markedly cooler, finding it more compelling as a police procedural than as an increasingly violent social drama. ## Straight answers **Is Les Misérables worth watching?** *Les Misérables* is worth watching for its tense, closely observed police encounters and persuasive performances; we score it 77 out of 100. We recommend it to crime-thriller viewers who value a convincing neighbourhood, with the caveat that its larger complications feel arranged and its later dramatic turns press too hard. **How long is Les Misérables, and what is it rated?** *Les Misérables* runs 1h 44m. It is a crime and drama film. **Where can I watch Les Misérables in India?** *Les Misérables* is not on any streaming or rental service in India at the moment. It is available in 22 other countries; change your country at the top of the page to see where. Availability is checked daily. **How violent or frightening is Les Misérables, and is it suitable for children?** *Les Misérables* carries a US R certificate, so we would not recommend it for children; no UK certificate is supplied. The tension we describe comes from intrusive, unpredictable police authority, small confrontations and mounting suspense, rather than specified graphic violence. The bus-stop police check is particularly unsettling, but we cannot give a more precise account of violent content. **How does Les Misérables compare to La Haine?** *Les Misérables* follows police officers through a French housing estate, while [*La Haine*](https://film.one/film/la-haine) centres on three friends after suburban riots; we give the latter the broader recommendation. Both find tension in everyday encounters shaped by police hostility, but *La Haine* gives friendship and humour more weight. Choose *Les Misérables* if police work and competing local claims to authority interest you most. **What should I watch after Les Misérables?** After *Les Misérables*, try [*La Haine*](https://film.one/film/la-haine) (1995, Fi1m 90): Another French estate drama where police hostility shapes the day’s smallest encounters. Then [*Do the Right Thing*](https://film.one/film/do-the-right-thing) (1989, Fi1m 93): Neighbourhood humour and accumulated grievances make the confrontations painfully difficult to dismiss; and [*A Separation*](https://film.one/film/a-separation) (2011, Fi1m 93): Competing loyalties turn an apparently manageable dispute into something nobody can contain. ### Reviews we read (18) - **Empire**, Ian Freer (85/100, inferred): Freer calls the film tense, explosive, urgent, and a powerful debut. He praises its vivid sense of place and the kinetic, suspenseful action. [Read](https://www.empireonline.com/movies/reviews/les-miserables-2020/) - **Los Angeles Times**, Kenneth Turan (85/100, inferred): Turan finds the film culturally relevant, dramatically compelling and terrifyingly real. He especially praises its crackling authenticity and its refusal to offer easy solutions to complex problems. [Read](https://www.latimes.com/entertainment-arts/movies/story/2019-11-27/les-miserables-review) - **Evening Standard**, David Sexton (4/5): Sexton calls it an important, remarkable debut that deserves a Cannes prize. He praises its immediate, compelling filmmaking and deft pacing. [Read](https://www.standard.co.uk/culture/film/cannes-2019-les-miserables-review-ladj-lys-remarkable-debut-captures-the-struggle-for-life-in-the-banlieues-a4143661.html) - **Radio Times**, David Parkinson (4/5): Parkinson calls the film an exceptional, combustible debut. He praises its charged blend of social drama and thriller, likening it to Do the Right Thing and Training Day. [Read](https://www.radiotimes.com/movie-guide/b-5dxeu1/les-misrables/) - **Time Out**, Phil de Semlyen (4/5): De Semlyen calls it a nuanced, energized, hard-hitting crime drama and spiritual heir to La Haine. The review praises its crackerjack French police-drama execution. [Read](https://www.timeout.com/movies/les-miserables) - **IndieWire**, David Ehrlich (B): Ehrlich finds the film powerful despite a sometimes clumsy route to its incendiary conclusion. He praises Julien Poupard’s tactile, kinetic cinematography and highlights the young Issa’s bloodied face as an indelible image. [Read](https://www.indiewire.com/features/general/les-miserables-review-cannes-2019-1202141330/) - **Slant Magazine**, Chris Barsanti (3/4): The critic calls the film a potent, vivid work and a cautionary tale about oppression and unrest. He praises its social realism while noting that the lion-cub plot point feels over the top. [Read](https://www.slantmagazine.com/film/les-miserables-review-ladj-ly/) - **Little White Lies**, Elena Lazic (70/100, inferred): Lazic finds the film gripping and largely successful, though occasionally contrived. She praises its urgent warning about violence and unrest in the banlieue. [Read](https://lwlies.com/festivals/les-miserables-cannes-film-festival-review) - **Screen Daily**, Jonathan Romney (70/100, inferred): The standfirst presents the film as an explosive debut that heats up the competition. It singles out the riotous Paris banlieues as its setting. [Read](https://www.screendaily.com/reviews/les-miserables-cannes-review/5139434.article) - **Sight and Sound**, BFI (68/100, inferred): The review finds the film a subtle, accessible portrait of social tensions, though its nihilistic ending sharply undercuts its earlier hope. It praises the insider perspective and striking drone photography. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/les-miserables-ladj-ly-paris-banlieu-drama) - **The Hollywood Reporter**, Jordan Mintzer (65/100, inferred): Mintzer finds the film an impressive, engrossing, and provocative debut, though it is heavy-handed and predictable at times. He praises its expressive, authentic depiction of Montfermeil and the tense filmmaking, while criticizing the forced, generic third act. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/les-miserables-review-1210837/) - **Variety**, Guy Lodge (65/100, inferred): Lodge finds the film an urgent, stylish social thriller, though its focus on the police leaves residents underdeveloped. He especially praises Ly’s vivid, intimate depiction of the community and the film’s tense scenes of unchecked authority. [Read](https://variety.com/2019/film/reviews/les-miserables-review-ladj-ly-1203215299/) - **The New York Times** (64/100, inferred): The page content is unavailable, so the critic’s verdict cannot be determined. No praise or complaint can be verified from the accessible text. [Read](https://www.nytimes.com/2019/11/28/movies/les-miserables-review.html) - **The New Yorker**, Anthony Lane (55/100, inferred): Lane finds the film gripping and socially unsettling, though he is unsure whether its explosive final act serves it well. He singles out the plausible, lightly comic street-level scenes for their nerve and realism, and the final image for its bleak force. [Read](https://www.newyorker.com/magazine/2020/01/13/paris-on-the-brink-in-les-miserables) - **The Guardian**, Peter Bradshaw (35/100, inferred): Bradshaw finds the film compelling as a cop procedural but less effective when it turns into a violent issue drama. He praises the pre-credit World Cup sequence and the street-level atmosphere, while faulting the riot’s loss of subtlety and dramatic force. [Read](https://www.theguardian.com/film/2019/may/15/les-miserables-review-ladj-ly-debut-feature-paris-suburb-cop-procedural) - **Eye for Film**, Richard Mowe (75/100, inferred): Mowe finds the film assured, vital and notably authentic, and sees Ladj Ly as a significant new talent. He especially praises the chance it gives residents of the housing estates to tell their own stories. [Read](https://www.eyeforfilm.co.uk/review/les-miserables-2019-film-review-by-richard-mowe) - **The Wrap** (75/100, inferred): The review finds the film socially perceptive and formally assured, despite a familiar thriller setup. It especially praises Ly’s empathetic, humorous portrayal of the community and its factions. [Read](https://www.thewrap.com/les-miserables-film-review-socially-minded-thriller-breathes-new-life-into-an-old-tale/) - **The Playlist** (65/100, inferred): The URL identifies this as a review of Ladj Ly’s film at Cannes. The article text is blocked, so its verdict and any praised or criticized element cannot be determined. [Read](https://theplaylist.net/les-miserables-cannes-review-20190516/) ## Details - **Director:** Ladj Ly - **Director:** Ladj Ly - **Writer:** Ladj Ly, Giordano Gederlini, Alexis Manenti - **Cinematography:** Julien Poupard - **Editor:** Flora Volpelière - **Music:** Pink Noise - **Costume design:** Marine Galliano - **Producer:** Toufik Ayadi, Christophe Barral - **Cast:** Damien Bonnard as Stéphane; Alexis Manenti as Chris; Djebril Zonga as Gwada; Steve Tientcheu as The Mayor; Jeanne Balibar as The Comissioner; Issa Perica as Issa; Al-Hassan Ly as Buzz; Almamy Kanoute as Salah - **Runtime:** 1h 44m - **Release (India):** 18 October 2019 - **Genres:** Crime, Drama, Thriller - **Budget:** $2 million - **Box office:** $55 million - **Trailer:** https://www.youtube.com/watch?v=r1kVRhhoLCg ## Where to watch in India Not streaming, renting or buying in India at the last check. Also available in: AE, AR, AT, BE, BR, CH, CL, CO, DE, DK, ES, FR, GB, IE, IT, MX, NL, NO, PA, SE, TR, UA. Add `?region=XX` to this URL for another country. ## Awards - César Award for Best Film 2020: César Award for Best Film (won) - Cesar of the public 2020: Cesar of the public (won) - International Submission to the Academy Awards 2020: International Submission to the Academy Awards (nominated) - European Film Award for Best Film 2019: European Film Award for Best Film (nominated) - European Film Award for Best Screenwriter 2019: European Film Award for Best Screenwriter (nominated) - European Film Award for European Discovery of the Year 2019: European Film Award for European Discovery of the Year (won) ## If you liked this - *La Haine* (1995), Fi1m 90: Another French estate drama where police hostility shapes the day’s smallest encounters. — [Fi1m page](https://film.one/film/la-haine.md) - *Do the Right Thing* (1989), Fi1m 93: Neighbourhood humour and accumulated grievances make the confrontations painfully difficult to dismiss. — [Fi1m page](https://film.one/film/do-the-right-thing.md) - *Police, Adjective* (2009): A quieter Romanian examination of police work, obedience and the language of authority. - *A Separation* (2011), Fi1m 93: Competing loyalties turn an apparently manageable dispute into something nobody can contain. — [Fi1m page](https://film.one/film/a-separation.md) - *The Battle of Algiers* (1966), Fi1m 93: For another forceful account of streets shaped by surveillance, coercion and resistance. — [Fi1m page](https://film.one/film/the-battle-of-algiers.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/les-miserables-2019