Jean-Luc Olivier

Jean-Luc Olivier’s filmography is honestly all over the place—in a good way. With The Last Mercenary dropping in 2021, he pretty much threw a grenade into the action-comedy scene. That film’s got undercover agents, double-crosses, a wild chase through Paris, and more one-liners than a stand-up show. You know the vibe: a washed-up but oddly charming ex-mercenary gets dragged back into the game, and suddenly the French government’s most embarrassing secrets are on the line. Olivier’s fingerprints are all over the snappy pacing and those “did he really just say that?” moments. Jump to The Gardener (2025), and things take a sharp left turn. No more wisecracks. This one’s a slow-burn thriller set in the English countryside. A quiet, almost invisible man tending rosebushes—except, yeah, he’s got a past. The kind of past that comes knocking on the garden gate with a gun. It’s moody, twisted, and every shot is dripping with tension. Olivier’s got this thing for turning the ordinary into pure anxiety fuel. You’ll never look at a pair of pruning shears the same way again. And then there’s Infiniti (2022), which, honestly, is just wild. Space station. Cosmic mysteries. Russian-French intrigue. The plot is like a Rubik’s Cube: every time you think you’ve got it figured out, it flips on you. There’s romance, paranoia, and a bunch of “wait, what just happened?” moments. Olivier’s style here just screams ambition—lots of moving parts, but somehow it all comes together in this fever-dream of a sci-fi thriller.