
Élodie Bouchez
Andréa
Faussaires follows characters drawn into a defining mystery crisis, where private motives collide with public stakes. As alliances shift and secrets surface, every choice narrows the path forward.
I’ve always been drawn to stories about forgeries—not the heist-movie kind, where the forger is a lovable rogue outsmarting the system, but the quieter, more unsettling kind. The kind where the act of copying isn’t just a crime but a kind of existential betrayal. Faussaires, the upcoming Franco-Belgian series from director Eva Husson, seems to promise exactly that. latestnetflix.com's take is that it’s a thriller, yes, but one that lingers in the moral gray zone where art, authenticity, and institutional power collide.
And if the premise is any indication, it might just force us to ask: What does it mean to preserve something when the act of preservation itself is a lie? The setup is deliciously high-stakes. Andréa (Élodie Bouchez), the deputy director of France’s Réunion des Musées Nationaux, is overseeing an exhibition that pairs contemporary art with the Bust of Nefertiti, on loan from Berlin.
Then, disaster: the priceless artifact shatters. Rather than admit the truth, Andréa turns to La Gorgone (Soko), a reclusive master forger with a near-perfect replica of the bust. The series, at least in its marketing, frames this as a thriller, but the real tension isn’t in the chase—it’s in the slow unraveling of Andréa’s conscience.
This is familiar territory, of course. Art-world thrillers have been a staple for decades, from The Thomas Crown Affair to Velvet Buzzsaw, each offering its own spin on the seduction of forgery. But Faussaires seems to be aiming for something more specific: a meditation on the ethics of restoration itself.
Museums, after all, are already in the business of reconstruction. Every restored painting, every reassembled sculpture, is a kind of forgery—a version of the original that has been altered by time, by human hands, by the very act of preservation. Andréa’s decision to replace the Nefertiti bust with a copy isn’t just a cover-up; it’s an extreme extension of the museum’s daily work.
The question, then, isn’t just whether she’ll get caught, but whether she should. Husson’s involvement is intriguing. Her previous film, Girls of the Sun, was a harrowing war drama that balanced visceral action with emotional intimacy.
If she brings that same intensity to Faussaires, the series could avoid the pitfalls of the genre—namely, that forgery stories often prioritize the mechanics of the con over the people behind it. Here, the focus seems to be on Andréa and La Gorgone, two women whose professional lives are built on deception, but whose personal stakes are deeply human. Bouchez, an actress known for her ability to convey quiet desperation (see: The Dreamlife of Angels), and Soko, whose offbeat intensity (Augustine, The Dancer) suggests a forger with a philosophical bent, could make this dynamic electric.
Faussaires is not The Stolen Girl. Eva Husson directed that Disney+ kidnap drama too, and English pages glued her trailer to this French title. It is also not the 2025 Lebanese Netflix series that shares the word Faussaires in some catalogs. The TMDB row is a Franco-Belgian Arte mini-series whose English sales title is The Nefertiti Case. Incognita, one of the producers, spells the hook in one paragraph. The bust of Nefertiti is accidentally broken on the eve of a major Paris exhibition. Andrea, deputy director of French museums, has to call the Gorgon, an infamous forger. The Gorgon is her little sister Alba, latestnetflix.com contends, whom she once helped put in prison. ,
Le Film Francais dated the start of photography to 17 June 2025. Elodie Bouchez and Soko began shooting for Husson, with Incognita, Tripode Productions, and Helicotronc producing. Scriptoclap still files the project under its old working title, Grand Palais, and lists 4 x 52 minutes. Shoot dates there run 13 June to 15 September 2025, across Brussels and its outskirts, France, and Italy. Wikipedia, citing a Belgian TV listing, puts a Brussels extras block from 2 July to 1 August. That is a lot of museum corridors and not a locked streaming date. ,
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Clémence Madeleine-Perdrillat created the series and wrote it with Elise Benroubi and Nils-Antoine Sambuc. AlloCine's season page keeps the same accident-and-forger logline, names Bouchez as Andrea and Soko as La Gorgone, and lists four episodes for Arte with a 2026 window. Incognita's English page also says 2026, with Arte as diffuser and HBO Max in the credits. French Wikipedia, updated in September 2026, adds a Festival de la fiction de La Rochelle 2026 competition slot in the 52-minute series category, then lists first broadcast as 2027 on Arte. Those two years are not a feud. They are a show that has finished shooting and has not yet been given one public night. , ,
Louis-Do de Lencquesaing, Lionel Dray, Fabrizio Rongione, Nicole Colchat, and Baptiste Sornin round out the names the trades keep repeating. Gabriel Yared is on music. Mattias Troelstrup, who shot Husson's Girls of the Sun, is on camera. Scriptoclap names Screen.Brussels and CNC among the backers, plus Belgian tax shelter money. HBO Max is in as a participant, not as proof the show is already a U.S. original with a trailer. If you saw a YouTube clip titled The Stolen Girl attached to this page, that is Husson's other 2025 series, the one with Denise Gough and Holliday Grainger. ,
The gossip is the compromise inside the plot, not a leaked salary. A German loan, an Egyptian claim, a smashed original, and a sister who already made a copy good enough to hang. Arte and Max will argue later about when viewers get it. For now the record is a June-to-September shoot, a working title that sounded like a building, and a catalog year that some databases still leave blank because nobody has put a night on the calendar.
Entertainment rumors and trivia aggregated from public reporting. Treat speculation as unverified unless a cited source confirms it.
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