In Luc Besson's Subway, the Paris underground becomes a sanctuary for social outcasts.

In Luc Besson's Subway, the Paris underground becomes a sanctuary for social outcasts.
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In short: Released in 1985, this French thriller defines the cinéma du look movement. It follows a man hiding in the labyrinthine tunnels of the Paris Métro, where he builds a community of thieves and musicians. The film explores the tension between the frantic surface world and a static, subterranean eden.

Directed by Luc Besson and starring Christopher Lambert and Isabelle Adjani, Subway tells the story of Fred, a man who steals sensitive documents and retreats into the Paris Métro. The film is a hallmark of the cinéma du look movement, known for its highly energetic visual style. While the opening car chase pays homage to The French Connection, the narrative quickly shifts into the bowels of the city, where Fred befriends a roller-skating thief and a track worker.

Critics remain divided on the film's substance. While some praise the sheer fun of the underground musical interludes and chase sequences, others argue that the characters and plot are thin, serving primarily as afterthoughts. Film reviewer John Cribbs suggests the movie is essentially plotless and meditative, framing the subway as a place of stasis for those seeking freedom from social responsibility. This theme is introduced through philosophical quotes from Socrates, Sartre, and Sinatra, contrasting the frantic need to 'do' things on the surface with the stillness of the underground.

Subway was a significant commercial success, attracting over 2.9 million cinemagoers in France during 1986 and grossing $50 million worldwide. Its soundtrack, featuring Éric Serra’s music, also proved popular, selling more than 100,000 copies in France. The film received 13 César Award nominations in 1986, winning for Best Actor, Best Production Design, and Best Sound. Despite its initial popularity, modern critical reception remains mixed, with Metacritic assigning it a score of 53 out of 100, reflecting its status as a visually striking but narratively unconventional piece of cinema.

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