Here are some of them:

DEADLINE, Pete Hammond:

“Channing Tatum & Kirsten Dunst Triumph In Incredible Real-Life Story That Becomes One Of 2025’s Best Movies”
“It is the role of a lifetime for Tatum, who delivers a performance of charm and complexity playing an exceptionally smart and inventive veteran being tossed aside now… This is a perfect role for Tatum, who most recently charmed in Dog and The Lost City, both proving his box office prowess. Here he takes it to new levels playing a flawed and complicated man, in real trouble, but one we root for no matter what. It is one of those roles where after you see it you cannot imagine another actor doing it as well.” 

“(Dunst) is an actress who seems incapable of a false note, and she and Tatum have the magic, a chemistry you can’t fake that makes this impossible situation all the more heartbreaking.” 

VARIETY, Peter Debruge:

“It’s the through-the-roof chemistry between the two leads that makes the film worthy of repeat viewing. Tatum affected swagger has eased into a natural confidence, while Dunst brings just the right amount of wariness to a woman who’s devoted to her kids and devout in her faith.”

THE WRAP, Steve Pond:

“It’s easier to shrug off that string of felonies if the felon is played by the effortlessly charming Tatum, who somehow gets us to believe he’s just a little misguided.”

“Roofman” has it both ways; it’s funny and foreboding, sweet and troubling, light on its feet but with an inescapable undertone of uneasiness, even dread.”

VARIETY, Brent Lang:

“Indeed, “Roofman” toggles between showing the joy of Manchester’s heists, as well as the tragic consequences of his criminality, allowing Tatum and Dunst to chart expansive emotional arcs in performances that are sure to be talked about throughout awards season.

THE HOLLYWOOD REPORTER, Scott Feinberg:

“a career-best turn from Tatum, who hasn’t had a showcase of this quality since 2014’s Foxcatcher, and who makes a strong case for a best actor Oscar nomination, which would be his first-ever recognition from the Academy. Dunst, too, is worthy of a serious look in the best supporting actress Oscar contest, in which she was previously nominated for 2021’s The Power of the Dog.”

MR. WILL WONG, Nicholas Proteous:

“Roofman succeeds as a comedy, a romance, a moving story of found family, and an unpredictable crime saga. It’s a brilliant and surprising genre mashup for Cianfrance, and a worthy addition to your list of must-sees at this year’s Festival.”

“Tatum, as Jeffrey Manchester, is one of the most entertaining characters in recent memory.”

THE TORONTO SUN, Mark Daniell:

“‘Roofman’ is the type of movie that people who enjoy a night out at the cinema are really going to dig. Channing Tatum and Kirsten Dunst looked like they had a ball making this. Heartwarming and heartbreaking at the same time — this is the perfect fall movie.”

NEXT BEST PICTURE, Ema Sasic:

“ROOFMAN plays into all of Channing Tatum’s strengths: His charm, comedy chops, athleticism and sincere on-screen presence. Once Kirsten Dunst enters the picture, Derek Cianfrance hits us with another romance that builds lovingly, until hard truths hit hard in the end” 

IN SESSION FILM, Shadan Larki:

“Channing Tatum is the best he's ever been in ROOFMAN. This feels like the performance he's been waiting to give his whole career.”

Prorom is releasing Roofman in Romania (on October 10), Bulgaria (October 10), Hungary (on November 27) and Czech Republic & Slovakia (on October 9).

Bald Is the New Black / Certains l’aiment chauve, directed by Camille Delamarre, brings to the screen a big-name cast: Kev Adams, Michaël Youn, Rayane Bensetti, Chantal Ladesou, Faustine Koziel and Clara Joly.

In a world where image matters more than ever, a young man desperate to keep his hair ends up... embracing baldness with style! A savory satire about appearances, beauty standards and self-acceptance, told with 100% French humor.

Distributed by Prorom and Ro Image, Bald is the New Black is the perfect film for a healthy dose of laughter – only in cinemas, from August 22!

Starring Marilou Berry, Isabelle Nanty, Barbara Bolotner and Neva Kehouane.

The film tells the story of a nun who arrives in the heart of the city and, without her will, becomes a real sensation. A delicious mix of humor, emotion and unexpected situations, perfect for a summer evening at the cinema!

Don't miss the premiere – only in cinemas, from July 25th!

Prorom bought two Spanish comedies from Latido Films (Who Is Who? and Babies Don’t Come With Instructions).

“Prorom is expanding the slate of European comedies with Spanish movies and we’re happy to have established a partnership with Latido Films for this purpose” says Axel Böhm, Co-Managing Director at Prorom.

”Berlin was good for us and the main takeaway is that the market is really fluid, changing continuously and nothing is permanent: our advantage is precisely that we handle great movies and have diversified our content and finally find the right buyer for the right film,” said Latido Films CEO Antonio Saura for Variety.

Marina Seresesky’s Paco León-starred Babies Don’t Come with Instructions, is a redo of Eugenio Derbez’s megahit Instructions Not Included.

Another Spanish comedy, Martín Cuervo’s dysfunctional family story Who Is Who (in photo), with Elena Irureta (Patria), Kira Miró (Everybody Does It) and Salva Reina (The 47), will also travel to Eastern Europe via Prorom.

How To Make A Killing brings you to unexpected terrain, film noir. But it does deal with some of themes of your previous films…  
It’s almost necessarily so: I cannot, and I do not want to change my DNA. And so, all my films do have a common denominator. Often a personal relationship. In Rolling To You there was a couple, in Rumba Therapy, a father and daughter. And there is a couple in How To Make A Killing. It’s never calculated, it’s never done on purpose. It’s simply indispensable for me. If I made a film without that, I would feel that something was missing. I would feel like I’m cheating. And I don’t want that.

What did the film noir universe contribute?
Something that was more in the background in my previous films: the characters’ roots in reality. How To Make A Killing clearly shows that. Via the context and the details: I wanted us to know that Michel and Cathy shop for groceries at a Super U. From the very start, I made it clear to the crew that we were not making an “American” film. Even though I love that kind of cinema, this is a French film with very French characters, who wear French anoraks, take their kids to school… Even the gendarmes look like real gendarmes.

So important, that even its title roots your film in a specific region, outside the major cities?
That was my first desire. Even before coming up with the story, I wanted a film that takes place in the provinces, in the country, among its inhabitants…

Is that also what oriented you toward a crime film, which very often do take place in the provinces?
Exactly. And that is what may astonish my audience who will feel that this is a very distant world from the one inhabited by my usual characters.  But that procedure is much the same as when I began to write comedy sketches, whose characters were in fact very different from me. How To Make A Killing comes closer to my own tastes as a member of the audience. Even though I do love comedies, I am more naturally drawn to crime films.  

This incursion into film noir invited you onto the terrain of morality and ethics, whereas your previous films revolved mostly around the idea of lies…
Clearly. The title was even “Money can’t make you happy, my ass!” I wanted the film to be as amoral as possible. I wanted to avoid the classic terrain expected from characters in a comedy. Everyone is pretty-looking, nice to know? No! In the real world, not everyone is necessarily pretty to look at or nice to know.

And for the other roles you called on actors you are not usually associated with... Did that also have to do with your desire to enlarge your usual universe?
I went so far as to change casting directors on this film for one more specialized in “auteur” films.  Ultimately, there is only one actor in How To Make A Killing who comes from my universe. Christophe Canard, who plays the priest. All the others, from the forest ranger to the barmaid, come from another universe. Even for minor scenes: like the woman with her babies at the gendarmerie reception desk. My casting choices were in line with my desire to give the film another, more realistic feel.

Laure Calamy and Kim Higelin remain the most unexpected...
I knew that Laure could play both funny and tragic. But it’s what she did in Full Time that convinced me: bursting with energy but at the same time fragile. That was the Laure I wanted, not the more comical one in My Donkey, My Lover, And I. I couldn’t find the right actress for Kim’s part. I auditioned a lot of actresses. Very good actresses. But they all lacked that something original needed for the role. I was about to resort to street casting when someone suggested Kim. Her originality, her contemporaneity won me over. And then there is Joséphine de Meaux. Her aura of melancholy has always moved me. Aside from the empathy audiences feel for her.

On the other hand, Benoît Poelvoorde seems more in line with your comic universe. But you pushed him toward a more subdued register than he is used to.
Generally speaking, I immediately told all the actors: “Be careful, we’re going to make people laugh, but this is not a comedy. You need to act serious all the time. It will only be funny when it has to be.”  That is how I directed them, and they all respected my indications. I think that Benoît was delighted to abandon himself to his character. It would be a lie to say that we’ve never seen him like this before, but I think that here he was able to combine all of his various acting styles. Moreover, he had some voice problems during the shoot. At first, I was afraid that we might have to post-synchronize him. But no, that hoarseness brought a little something extra to the role.

How to Make a Killing / Un ours dans le Jura is now playing in cinemas.

Foto: (c) Julien Panié (c) 2024 Gaumont, Pour toi Public productions, France 2 Cinéma.

Michael and Cathy accidentally witness a triple murder in the woods on Christmas Eve. A bag with two million euros and a pistol falls into their hands. In order to throw off suspicion, they are ready to accept the craziest ideas, without even knowing what absurdity they will result in.

How To Make A Killing stars Laure Calamy, Joséphine de Meaux, Emmanuelle Devos, Franck Dubosc, Benoît Poelvoorde. The movie is directed by Franck Dubosc.

“In this film, the characters’ roots in reality. How To Make A Killing clearly shows that. Via the context and the details: I wanted us to know that Michel and Cathy shop for groceries at a Super U. From the very start, I made it clear to the crew that we were not making an “American” film. Even though I love that kind of cinema, this is a French film with very French characters, who wear French anoraks, take their kids to school… Even the gendarmes look like real gendarmes.” sais the director Franck Dubosc.

How To Make A Killing is now in cinemas, distributed by Prorom and Ro Image.

Foto: (c) Julien Panié (c) 2024 Gaumont, Pour toi Public productions, France 2 Cinéma.