Ares

France has become a hollow economy, with millions out of work and social unrest on the rise. The new order keeps people in check and crowds tune in to a brutal televised arena where combatants are legally doped and pushed to extremes. In this grim near future, a man named Arès navigates a society where violence on screen is a sanctioned spectacle and the line between punishment and entertainment blurs. The broadcasts offer a dangerous outlet for anger, fear, and desperation, drawing viewers and participants from all corners of a fractured country. As loyalties shift and past choices threaten collateral damage, the story follows Arès through a world where power answers with force and spectators decide the rules.

Directed by Jean-Patrick Benes, the film stems from an original screenplay developed by Jérémie Guez, Benjamin Dupas and Allan Mauduit, with Ola Rapace starring as Arès and Micha Lescot supporting. The production takes a stark, industrial approach that mirrors a society gripped by spectacle.

Box office figures for Arès are not widely publicized, and the movie did not become a major international hit. It had a modest theatrical run in Europe before reaching home audiences on streaming.

Critical responses highlight a tense atmosphere and a sharp look at how economic collapse and media saturation bend people toward violent spectacle. Some reviewers praise the film for its brisk setup and solid performances, though others find the pacing uneven and the social critique too blunt at times. The film invites comparison to other dystopian visions and raises questions about the responsibility of broadcasters and policymakers.

Arès sits among late 2010s European thrillers that probe media violence and the fallout of austerity. It did not spark a lasting meme or catchphrase, but its premise echoes ongoing debates about televised brutality and the price of economic precarity, leaving viewers with a pointed question about what they accept as entertainment.