The Intouchables

Release date: November, 2011
Director: Oliver Nakache & Eric Toledano
Screenplay: Oliver Nakache & Eric Toledano

Okay, listen—The Intouchables isn’t just “one of my favorite movies.” Nope. It’s sitting pretty in my Letterboxd top four, like it owns the place. This was the movie that flung open the doors to French cinema for me and somehow helped me score an A+ in my Interpersonal Communication class (who knew Philippe and Driss doubled as study buddies?). Watching it is like hopping on an emotional rollercoaster that refuses to let you off. One minute you’re snort-laughing, the next you’re clutching your heart, and by the end you’re left with that warm, fizzy, life-is-good kind of feeling. 

For those who live under a rock and have not seen this film, here is a quick overview: It is the story of Philippe, a super-wealthy aristocrat who, after a paragliding accident, becomes paralyzed from the neck down. In search of a caregiver, he hires Driss, a street-smart guy fresh out of prison who’s only interviewing to keep his unemployment benefits. Driss has zero training, zero filter, and zero interest in tiptoeing around Philippe’s condition. But somehow, his bold humor, outrageous honesty, and no-nonsense attitude shake Philippe out of his dull, careful routine. What follows? An unlikely bromance that proves laughter is stronger than pity, dancing can be medicine, and that sometimes the best therapy is blasting Earth, Wind & Fire at full volume.

This film is extra special because it’s based on the true story of Philippe Pozzo di Borgo and his French-Algerian caregiver, Abdel Sello, which makes every laugh and tear land with double the weight. But here’s the thing: beyond the bromance and belly laughs, the movie holds up a mirror to the glaring economic inequality that so many minorities face in so-called “developed” countries. On Driss’s side, there’s the daily grind of unemployment lines, cramped housing in immigrant-heavy ghettos, and an aunt who’s basically running herself into the ground with multiple jobs just to survive. Flip the coin, and you’ve got Philippe: a man of obscene wealth, surrounded by high-end cars he barely drives, art pieces that cost more than most people’s lifetime earnings, and a mansion that could swallow Driss’s entire neighborhood.

Here’s where the magic happens, their friendship doesn’t ignore those differences; it dances right through them. The gap between their worlds makes their bond feel almost rebellious, like the universe went, “Wait, you two are best friends now?” And instead of being weighed down by class and cultural divides, the film flips the script: their mismatched backgrounds become the rocket fuel for humor, honesty, and a friendship that feels as unlikely as it is unstoppable.

It is packed with little gems of humor, such as the the phone gag scene. Picture this: Philippe’s phone starts ringing, and Driss, totally deadpan, hands it to him like, “Well? Aren’t you going to answer?” Philippe shoots back, “Fuck, I keep forgetting,” and suddenly you’re laughing so hard you forget you’re watching a scene about a man who literally can’t answer the phone. It’s quick, cheeky, and somehow both inappropriate and wholesome at the same time, the kind of joke that sneaks up on you and leaves you cackling uncontrollably.

So if you’re hunting for a go-to comfort movie, stop scrolling, this is the one. And hey, it’s in French, which means even the sad moments sound chic and poetic (crying has never felt so classy). Trust me, your couch, your snacks, and your heart will thank you. Until next week :)