Under Paris 2: Abyss Rising (2026) — Official Trailer | Starring: Bérénice Bejo, Nassim Lyes

Under Paris 2: Abyss Rising (2026) is no longer a simple survival film. It’s a dark, heavy, and haunting warning about how humanity treats nature – and the price to pay when all boundaries are broken. If the first film was a nightmare that began on the surface of the Seine River, the second pushes that horror deeper, darker, and far more ancient.

Paris in Abyss Rising is no longer the “City of Lights.” The iconic city of human civilization is now submerged under ten meters of toxic water, where once bustling avenues become predatory corridors, and historical landmarks – the Louvre, Notre Dame, the Eiffel Tower – are transformed into the territory of ferocious sea creatures. The film doesn’t build disaster through ostentatious destruction, but through a slow, chilling sense of loss: as the memory, history, and identity of a city are devoured centimeter by centimeter.

Sophia (Bérénice Bejo) returns not as a mere scientist. She carries the burden of guilt, memories, and responsibility. Sophia understands: this disaster is not an accident. The sharks didn’t “invade” Paris – they’ve returned. When she discovers that the sharks have begun nesting, breeding, and establishing territory right in the heart of the city, the film immediately shifts from survival to eco-horror. Humans are no longer innocent victims, but invaders being pushed back.

Adil (Nassim Lyes) represents a different generation: realistic, instinctive, and ready to act. His scenes of jet-skiing through the ruins of the Louvre or diving deep into flooded metro tunnels are not just visually stunning action, but images of small human beings trying to reclaim their right to exist in a world that has changed hands. Between Sophia and Adil lies the contrast between intellect and reflexes, between long-term thinking and immediate survival – yet both are drawn into the same inescapable vortex.

The brilliance of Abyss Rising lies in the “abyss” beneath Paris. When a seismic shift opens an ancient chasm beneath the Catacombs, the film taps into humanity’s most primal fear: the fear of what existed before us. What rises from there is not simply a monster larger than Lilith. It is a symbol of centuries-long imbalance, the buried memory of Earth as it has been relentlessly exploited, dug up, and poisoned.

The moments of underwater silence – especially the scene of the metro submerged in complete darkness – demonstrate the director’s confidence. No background music, no screams, only the hurried breathing and the thick blackness that engulfs everything. When the water suddenly turns completely black, the audience understands that fear doesn’t need to be “seen” to exist. Sometimes, the most terrifying thing is not knowing where you’re being watched from.

Sophia’s line, “They aren’t just eating us. They’re nesting,” is the soul of the film. It completely reverses the familiar perspective in monster movies. Humans are no longer the center of this ecosystem. Paris – a symbol of power, history, and pride – is now just a new habitat for another species. And they adapt better than we imagine.

The climax with the giant whirlpool in the city center is a powerful symbolic image. As the prehistoric dorsal fin rises to the surface, wider than a bus, the film definitively rejects any lighthearted or entertaining comparisons. This isn’t Optimum Prime, this isn’t a superhero. This is the pure terror of nature awakened.

Under Paris 2: Abyss Rising doesn’t just aim to scare the audience – it wants to make viewers feel small, powerless, and reflective. The film poses the most terrifying question: if one day Earth decides to reclaim what belongs to it, where will humanity stand? And will we still have the right to call ourselves “masters” of this world?

Darker, deeper, and infinitely more haunting, Abyss Rising transforms Paris into a city of shadows, where light offers no salvation. Bejo and Lyes don’t just return – they lead the audience straight into the abyss, where fear doesn’t scream, but whispers… and lingers long after the screen goes dark.

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