Get ready to rethink your next swim—the terror beneath the waves is back! Netflix is diving headfirst into a sequel for its 2024 shark thriller Under Paris, and this time, horror maestro Alexandre Aja is at the helm. But here's where it gets controversial: Why replace original director Xavier Gens, especially after the film’s massive global success? And this is the part most people miss—the sequel’s scriptwriter remains a mystery. Let’s unpack what’s swimming beneath the surface.
The original film, known in France as Sous la Seine (Under the Seine), starred Bérénice Bejo as a marine researcher battling her own demons—and a mutant freshwater shark terrorizing Paris. Think Jaws meets a triathlon gone wrong, all while the mayor refuses to cancel the event. It was absurd, over-the-top, and utterly addictive, becoming one of Netflix’s most-watched films that year. Bejo is expected to return, alongside producer Vincent Roget, but Gens’ absence raises eyebrows. Was it creative differences? Scheduling conflicts? Netflix isn’t spilling the fins—er, beans.
Enter Alexandre Aja, the French horror virtuoso whose résumé reads like a monster movie lover’s dream. From his breakout slasher flick Haute Tension (2003) to the campy delight Piranha 3D (yes, the one with killer fish in Arizona), Aja knows how to turn water into a nightmare. Remember Crawl (2019)? That hurricane-meets-crocodile thriller? He directed that too. Most recently, he helmed Never Let Go (2024), a survival horror starring Halle Berry. If anyone can keep the Under Paris sequel afloat, it’s him.
But let’s address the elephant in the room: Can lightning strike twice? The first film’s success hinged on its perfect blend of absurdity and adrenaline. Will Aja lean into the camp, or will he take a darker, more serious approach? And what about that mutant shark’s offspring? Will they evolve, or just multiply the chaos? Is a sequel even necessary, or are we milking the shark for all it’s worth?
Here’s a thought: What if the real monster isn’t in the water, but in the decisions that put people in harm’s way? The mayor’s refusal to cancel the triathlon in the first film wasn’t just a plot device—it was a commentary on leadership in crisis. Will the sequel bite into bigger themes, or stick to the thrills? Let us know your thoughts in the comments—do you think this sequel will sink or swim? And more importantly, would you dare to dip your toes back into the Seine?
