Review | L'Été 36 by Fred Garson (2026)

The new series L'Été 36, directed by Fred Garson, presents an intriguing blend of murder mystery and social commentary set against the backdrop of the summer of 1936 on the French Riviera. The narrative kicks off with the assassination of prosecutor Adrien Jacquart (Arnaud Binard) in a luxurious hotel, coinciding with the first summer when workers enjoyed paid holidays. This premise lays the groundwork for a gripping tale involving class struggle, romantic entanglements, and a plethora of suspects.

The series centers around four women from varying social strata, each harboring a personal motive for wanting Jacquart dead. Among them is Eugénie Berthier (Sofia Essaïdi), his former lover from a bourgeois family who left him for a worker seventeen years prior. Then there’s Blanche Ackerman (Julie de Bona), Jacquart's current mistress and the wife of Édouard Ackerman (Clément Aubert). Léonie Morel (Constance Gay), a police aide, bears a grudge against him for refusing to exonerate her father in a past case. Lastly, Giulia Vincent (Nolwenn Leroy), the head housekeeper of the Hotel Riviera, finds herself in dire financial straits, a situation Jacquart was aware of. The intricate connections—both known and hidden—between these women add layers of complexity to the plot.

While L'Été 36 showcases a promising narrative, it ultimately succumbs to its own convoluted script. The writing team, comprising Marie Deshaires and Catherine Touzet, based on an original idea by Iris Bucher, introduces multiple subplots that dilute the main storyline. Spanning six episodes, the series tackles heavy themes such as Nazism and racism, yet it often does so superficially, failing to enrich either the plot or character development. Additionally, the physical resemblance among some actresses further complicates viewer comprehension.

Critics have pointed out that the series simplifies the class conflict it seeks to portray. Instead of delving deeply into the dynamics between the bourgeoisie and the working class, the script often merely juxtaposes the two worlds without facilitating meaningful dialogue. Anachronisms also detract from the authenticity of the period representation; while the costumes effectively illustrate class distinctions, some fashion choices, like Angèle Ackerman's (Victoria Eber) mini-skirt, are glaringly out of place for the 1930s. Furthermore, the casual use of familiar terms among characters has been noted as historically implausible.

Despite its shortcomings, L'Été 36 remains an engaging watch, particularly for fans of detective fiction. The resolution of the murder mystery is crafted to maintain interest until the very end. The cast, including notable performances by Miou-Miou (Marthe Pontavice-Caron), François-Xavier Demaison (Alphonse Raven), Pascal Elbé (Raoul Delaunay), and Sam Karmann (Henri Pontavice-Caron), delivers strong portrayals, with Constance Gay standing out for her poignant performance. The cinematography deserves mention as well, successfully recreating the ambiance of the Promenade des Anglais in 1936.

Overall, while L'Été 36 offers a solid premise and engaging performances, it falls short of realizing its full potential due to its uneven script.