Frontier(s)

After a brutal political showdown rocks Paris, a crew of young thieves heads for the countryside to vanish into the shadows. Their escape plan collides with fate when they stumble upon a rural inn run by a ruthless neo Nazi faction led by a man called Mr Bean. Inside, Goëtz, Farid, Yasmine, and Alex try to keep a low profile while the inn's dark history and violent code press in from every side. The house becomes a trap as the hosts probe loyalties and the fugitives uncover dangerous secrets in a claustrophobic maze of hallways, rooms, and locked doors. Tension mounts as suspicion, rivalries, and the threat outside fuse into a high-stakes struggle for survival. The stakes escalate as the night deepens and the line between victim and aggressor becomes blurred.

Released in 2007, Frontier(s) is directed by Xavier Gens and based on an original screenplay. It blends realism with visceral shocks and features Samuel Le Bihan as Goëtz alongside Chems Dahmani Farid, Karina Testa Yasmine, Aurélien Wiik Alex, and Patrick Ligardes as Mr Bean.

Box office figures for Frontier(s) reflect a modest release and limited reach; worldwide gross is not widely reported, keeping the film more of a cult festival title than a blockbuster.

Critics split on Frontier(s) balance of raw horror and social commentary, with some praising its unflinching depiction of hate and survival under pressure while others view its excess as a liability. The film probes how fear, bigotry, and the lure of violent solutions can bend ordinary people, especially when authority collapses and law seems distant.

Frontier(s) earned a reputation among genre fans for its stark atmosphere and brutal set pieces, signaling a late 2000s wave of European horror that blends political anxiety with survival horror. Its provocative premise invites discussion about fear, xenophobia, and moral choices under pressure. The film's visual style and use of confined spaces are often cited in discussions of French horror's evolution, and its controversial content sparked debates about censorship and artistic risk. Its confrontational approach still fuels debate about censorship and the place of political horror in cinema.