Woody Allen’s 50th film, “Coup de Chance” made a pretty good impression after premiering at last year’s Venice International Film Festival and then in France a short time later. Since then it has been finding its way to screens including here in the States courtesy of MPI Media Group. It’s Allen’s first French-language feature. And while it may not be a landmark achievement for the 88-year-old filmmaker, “Coup de Chance” is his best movie in a decade, and maybe since 2011’s fabulous “Midnight in Paris”.

It goes without saying, but a ‘Woody Allen movie’ doesn’t have the same draw as it once did following the resurfacing of a decades-old sexual abuse allegation made by his ex-wife Mia Farrow which Allen has consistently and vehemently denied. Yet Allen has continued to make movies. Maybe not with the one-a-year cadence that many of us had grown accustomed to, but he’s still writing and directing. And as “Coup de Chance” reminds us, there’s a lot to enjoy when he hits his marks.

“Coup de Chance” (translated “Stroke of Luck”) is very much a Woody Allen picture from the familiar fonts during the credits, to the snappy jazz score, to the dense, rich, and effervescent dialogue. Yet while classic Allen hallmarks can be seen throughout, “Coup de Chance” also emanates a beguiling freshness that not only distinguishes it from the filmmaker’s recent efforts, but from much of what passes for adult dramedies today.

An absolutely captivating Lou de Laâge plays Fanny Fournier. She and her husband Jean (Melvil Poupaud) have the appearance of the ideal upper-crust couple. Fanny works at a high-end auction gallery while Jean is a successful (and possible shady) financial advisor who loves to shower his wife with lavish gifts and put on a show for his high society Parisian peers. But underneath his big spending, gregarious demeanor, and smooth self-promotion is a jealous and possessive man who is oblivious to his own condescension. Jean loves Fanny, but only through the lens of his expectations.

As for Fanny, she enjoys the pampered life of privilege and she’s comfortable with Jean, even poking fun at his hobnobbing with the dull and superficial elites. But Fanny isn’t driven by riches or status, nor is she concerned with impressing his rich acquaintances. Their relationship is perhaps best embodied in their frequent weekend trips to a posh exclusive hunting lodge. Jean loves schmoozing with the fellow one-percenters and he eats up the attention he gets in return. Fanny would rather stay in Paris but reluctantly goes along, mostly hanging around at the lodge while Jean and his affluent chums are out and about.

Allen does a great job defining their marriage which adds weight to Fanny’s life-altering chance encounter with an old high school friend, Alain (Niels Schneider). He’s a writer who is in Paris to work on his novel. One morning the two pass each other on the street and quickly strike up a conversation. Greetings give way to small talk which turns into reminiscing. Alain casually mentions that he’s always had a crush on her which Fanny lets slide by, quietly flattered but suppressing any sign of such reaction. The two part ways but not before agreeing to have lunch soon. That one lunch quickly turns into many.

As they walk around the city and share sandwiches in the parks, the two inevitably grow closer. Alain is a bohemian open-book, quick to share his feelings and not shy about posing whatever questions come to mind. Fanny is a little more subdued yet utterly charmed by Alain and his genuine interests in her – something she doesn’t get from Jean. Their conversations grow more honest and open, and soon longing gives way to a love affair. But once Jean gets suspicious, the movie takes an unexpected yet still distinctly Woody Allen turn.

As his story unfolds, Allen once again leans on the luminous cinematography of the great Vittorio Storaro. He shoots much of the film in a sumptuous autumn hue that adds beauty and allure without drawing too much attention to itself. Allen’s affection for France, and particularly Paris, vividly comes through Vittorio’s camera. And there’s an elegance to how he frames and follows the characters that adds to the tone Allen is going for.

Then you have the overall strong performances from the seasoned French cast led by Lou de Laâge. She has a magnetic presence, deftly conveying Fanny’s confidence and strength but also her vulnerability. Yet Allen’s ace in the hole may be Valérie Lemercier. She plays Fanny’s mother Camille, a small character at first who ends up playing a significant role. “Coup de Chance” may not be a comedy per se, but it has humor, most of which comes from Lemercier. She brings charm and levity to a film that is part romance, part drama, part thriller, and all Woody Allen. “Coup de Chance” is available now on Blu-ray and is streaming on VOD.

VERDICT – 4 STARS