The Extraordinary Adventures Of Adele Blanc-sec -2010 !!install!! May 2026

The film opens in 1911. Adèle is on a dig in Egypt, not to preserve history for a museum, but to find a specific mummy: the personal physician of Ramses II. She believes this mummy holds the secret to psychic powers. Her goal? To revive this ancient doctor so he can heal her sister, who lies in a coma after a freak accident involving a hatpin and a tennis match. (Yes, you read that correctly.)

Where Indiana Jones relies on brute strength and a whip, Adèle relies on scathing sarcasm, relentless determination, and a complete disregard for authority. She is selfish, vain, and utterly pragmatic—and that is precisely why we love her. In the world of 2010 cinema, where female leads were often written as either lovesick damsels or stoic warriors, Adèle was a hurricane of neurotic glamour. The Extraordinary Adventures Of Adele Blanc-sec -2010

Unfortunately, despite fan campaigns, the sequel never materialized. Besson moved on to other projects (including Lucy and Valerian ), and Bourgoin’s career took different directions. The film remains a one-off—a beautiful, bizarre orphan of cinema. The film opens in 1911

Bourgoin’s Adèle is never a victim. When she is threatened, she talks her way out. When that fails, she hits people over the head with a shovel. She doesn’t need a love interest; the closest the film gets is a brief, hilarious misunderstanding with a mummy. Bourgoin plays every scene with a mischievous glint in her eye, as if she knows she is the smartest person in the room—and she is. Her goal

But perhaps that’s fitting. Adèle Blanc-Sec is a character who exists outside of franchises. She arrives, destroys a city, saves her sister, and walks off into the sunset, smoking a cigarette, utterly uninterested in your applause. Unequivocally, yes.

As of 2026, the film is available on Mubi, Amazon Prime (with subscription), and for digital rental on Apple TV. Look for the original French audio with subtitles; the English dub, while competent, loses Louise Bourgoin’s irreplaceable voice.

The color palette is warm and saturated—golden yellows, rich greens, and deep browns. It evokes the hand-drawn quality of Tardi’s original comic panels. The CGI, particularly the pterodactyl, has aged surprisingly well. It is designed to be slightly unreal, a cartoon creature living in a real world, which fits the tone perfectly.