1952·Drama·1h 27m
7.2
★
Orphaned after a Nazi air raid, Paulette, a young Parisian girl, runs into Michel, an older peasant boy, and the two quickly become close. Together, they try to make sense of the chaotic and crumbling world around them, attempting to cope with death as they create a burial ground for Paulette's deceased pet dog. Eventually, however, Paulette's stay with Michel's family is threatened by the harsh realities of wartime.
Directed by René Clément
france
countryside
funeral
world war ii
exodus
foster parents
death
cross
post war
abandonment
children in wartime
Trailer
IMDB
N/A
Cast
Brigitte Fossey
Paulette
Georges Poujouly
Michel Dolle
Laurence Badie
Berthe Dolle
Lucien Hubert
Monsieur Dolle
Madeleine Barbulée
Red Cross Nun
Jacques Marin
Georges Dolle
Denise Péronne
Jeanne Gouard
André Wasley
Gouard - le voisin
Bernard Musson
Le deuxième gendarme (uncredited)
Annie Ravel
La cousine de Georges (uncredited)
Janine Zorelli
La vieille dame dans la charrette (uncredited)
Crew
René Clément
Director
René Clément
Screenplay
Narciso Yepes
Original Music Composer
Robert Dorfmann
Producer
Pierre Bost
Dialogue
Jean Aurenche
Dialogue
Popular Reviews
65 reviews
picheolin
10.0★ · 06/06/26
i feel very maternal about them.
i feel very maternal about them.
Alfred HitchTOK
10.0★ · 03/18/26
Forbidden Games sounds like a 90s erotic thriller
(And in fact there is a 90s erotic thriller of the same name)
But this beautiful film from Réne Clément is a profound mixture of sweetness, kindness, heartbreak and humour.
Paulette (Brigitte Fossey) an orphaned refugee from Paris in the midst of World War II is adopted by the Dolle family, where slightly older Michel (Georges Poujolly) taking her under his wing, a defacto sibling bond developing between the pair. Michel helps Paulette focuses her sadness into an obsession with crosses and a somewhat misguided understanding of faith.
A tale of War, displacement and grief viewed through the eyes of a child, where all the complex feels are encapsulated within the cross that sits atop your grave, be it the grave of a dog and earthworm or…people.
The Dolle family are so matter of fact in their adopting of young Paulette, and yet their class (or classless more like) war with their neighbours turns the act of grief into a competition, albeit a hilarious one, a practice equally as wrong-footed as Paulette’s own crucifixial obsession.
Somewhere in a mill barn, some 74 years later, you know that Owl is still watching over that necklace ❤️
(And in fact there is a 90s erotic thriller of the same name)
But this beautiful film from Réne Clément is a profound mixture of sweetness, kindness, heartbreak and humour.
Paulette (Brigitte Fossey) an orphaned refugee from Paris in the midst of World War II is adopted by the Dolle family, where slightly older Michel (Georges Poujolly) taking her under his wing, a defacto sibling bond developing between the pair. Michel helps Paulette focuses her sadness into an obsession with crosses and a somewhat misguided understanding of faith.
A tale of War, displacement and grief viewed through the eyes of a child, where all the complex feels are encapsulated within the cross that sits atop your grave, be it the grave of a dog and earthworm or…people.
The Dolle family are so matter of fact in their adopting of young Paulette, and yet their class (or classless more like) war with their neighbours turns the act of grief into a competition, albeit a hilarious one, a practice equally as wrong-footed as Paulette’s own crucifixial obsession.
Somewhere in a mill barn, some 74 years later, you know that Owl is still watching over that necklace ❤️
Forbidden Games sounds like a 90s erotic thriller
(And in fact there is a 90s erotic thriller of the same name)
But this beautiful film from Réne Clément is a profound mixture of sweetness, kindness, heartbreak and humour.
Paulette (Brigitte Fossey) an orphaned refugee from Paris in the midst of World War II is adopted by the Dolle family, where slightly older Michel (Georges Poujolly) taking her under his wing, a defacto sibling bond developing between the pair. Michel helps Paulette focuses her sadness into an obsession with crosses and a somewhat misguided understanding of faith.
A tale of War, displacement and grief viewed through the eyes of a child, where all the complex feels are encapsulated within the cross that sits atop your grave, be it the grave of a dog and earthworm or…people.
The Dolle family are so matter of fact in their adopting of young Paulette, and yet their class (or classless more like) war with their neighbours turns the act of grief into a competition, albeit a hilarious one, a practice equally as wrong-footed as Paulette’s own crucifixial obsession.
Somewhere in a mill barn, some 74 years later, you know that Owl is still watching over that necklace ❤️
(And in fact there is a 90s erotic thriller of the same name)
But this beautiful film from Réne Clément is a profound mixture of sweetness, kindness, heartbreak and humour.
Paulette (Brigitte Fossey) an orphaned refugee from Paris in the midst of World War II is adopted by the Dolle family, where slightly older Michel (Georges Poujolly) taking her under his wing, a defacto sibling bond developing between the pair. Michel helps Paulette focuses her sadness into an obsession with crosses and a somewhat misguided understanding of faith.
A tale of War, displacement and grief viewed through the eyes of a child, where all the complex feels are encapsulated within the cross that sits atop your grave, be it the grave of a dog and earthworm or…people.
The Dolle family are so matter of fact in their adopting of young Paulette, and yet their class (or classless more like) war with their neighbours turns the act of grief into a competition, albeit a hilarious one, a practice equally as wrong-footed as Paulette’s own crucifixial obsession.
Somewhere in a mill barn, some 74 years later, you know that Owl is still watching over that necklace ❤️
PoochieVince
9.0★ · 03/12/26
René Clément really captured the "kids are not okay" vibe perfectly here. It’s haunting, beautiful, and deeply uncomfortable in the best way possible. Watching Paulette and Michel build a literal cemetery for animals just to process the trauma of the occupation is a level of psychological depth you rarely see with child actors.
That Brigitte Fossey performance is an all-timer, and the Narciso Yepes guitar score is still an absolute earworm. The ending in the train station is a total gut-punch—I'm still thinking about it.
That Brigitte Fossey performance is an all-timer, and the Narciso Yepes guitar score is still an absolute earworm. The ending in the train station is a total gut-punch—I'm still thinking about it.
René Clément really captured the "kids are not okay" vibe perfectly here. It’s haunting, beautiful, and deeply uncomfortable in the best way possible. Watching Paulette and Michel build a literal cemetery for animals just to process the trauma of the occupation is a level of psychological depth you rarely see with child actors.
That Brigitte Fossey performance is an all-timer, and the Narciso Yepes guitar score is still an absolute earworm. The ending in the train station is a total gut-punch—I'm still thinking about it.
That Brigitte Fossey performance is an all-timer, and the Narciso Yepes guitar score is still an absolute earworm. The ending in the train station is a total gut-punch—I'm still thinking about it.
Diogo Magalhães
8.0★ · 03/06/26
Forbidden Games begins in heartbreaking fashion, but then it offers the viewer little slices of hope and humanity throughout its 90-minute runtime. Anchored by amazing performances, it’s a simple film that tackles complex subject matters.
Brigitte Fossey delivers one of the most remarkable performances ever by a child actor in her portrayal of Paulette.
Brigitte Fossey delivers one of the most remarkable performances ever by a child actor in her portrayal of Paulette.
Forbidden Games begins in heartbreaking fashion, but then it offers the viewer little slices of hope and humanity throughout its 90-minute runtime. Anchored by amazing performances, it’s a simple film that tackles complex subject matters.
Brigitte Fossey delivers one of the most remarkable performances ever by a child actor in her portrayal of Paulette.
Brigitte Fossey delivers one of the most remarkable performances ever by a child actor in her portrayal of Paulette.
Ethan
8.0★ · 01/21/26
“Garde-le cent ans”
Awards season bait but vintage. The French have always had a particular view and understanding of childhood that I don’t think is widely present in many other cultures. Films like this and Les 400 coups/ au revoir les enfant etc. Childhood trauma is not something so easily dismissed but thoroughly explored and with compassion and empathy. The douce-amère shines through.
Awards season bait but vintage. The French have always had a particular view and understanding of childhood that I don’t think is widely present in many other cultures. Films like this and Les 400 coups/ au revoir les enfant etc. Childhood trauma is not something so easily dismissed but thoroughly explored and with compassion and empathy. The douce-amère shines through.
“Garde-le cent ans”
Awards season bait but vintage. The French have always had a particular view and understanding of childhood that I don’t think is widely present in many other cultures. Films like this and Les 400 coups/ au revoir les enfant etc. Childhood trauma is not something so easily dismissed but thoroughly explored and with compassion and empathy. The douce-amère shines through.
Awards season bait but vintage. The French have always had a particular view and understanding of childhood that I don’t think is widely present in many other cultures. Films like this and Les 400 coups/ au revoir les enfant etc. Childhood trauma is not something so easily dismissed but thoroughly explored and with compassion and empathy. The douce-amère shines through.