Family Pack (Loups-Garous) French Movie Recap and Ending Explained
The Vassier family gets trapped in 1497 France. Full recap and ending explained for Netflix's Family Pack (Loups-Garous), including the Mona Lisa twist.
Spoiler warning: this article covers the complete plot of Family Pack (2024), including the ending and all character reveals.
The Vassier family returns from 1497 after Marie (Suzanne Clement) unlocks her hidden witch card in the final confrontation, defeats the last werewolf, and frees Louise from her own transformation. With all four werewolves eliminated, the game cards materialize in the family’s hands. They return the cards to the box, an earthquake reverses, and the family lands back in the present. The film closes on a joke: a visitor at the Louvre stands before the Mona Lisa and sees Jerome’s (Franck Dubosc) face on the canvas, the work of their medieval companion “Piero” (Bruno Gouery), revealed in the film’s final moments to be Leonardo da Vinci.
Family Pack, released worldwide on Netflix on October 23, 2024, runs 94 minutes. Its French title is Loups-garous. The film was directed by Francois Uzan, whose Netflix credits include writing for the series Lupin. His screenplay adapts “The Werewolves of Millers Hollow,” the French card game published by Asmodee in 2001 and created by Herve Marly and Philippe des Pallieres.
What triggers the time travel
The game’s central wolf figurine, turned by a frustrated Jerome after his family scatters before a single card is dealt, triggers an earthquake that carries the household from the present to France in 1497. Jerome has brought his wife Marie, his daughter Clara (Lisa Do Couto Texeira) from a previous relationship, Marie’s son Theo (Raphael Romand) from her own previous relationship, and their youngest daughter Louise (Alizee Caugnies), called Loulou, to visit his father Gilbert (Jean Reno) at the family house. Gilbert has Alzheimer’s disease and cannot place Jerome’s name. Jerome’s plan is a game of “The Werewolves of Millers Hollow,” a card game he associates with Gilbert from childhood.
Before the first card is played, Clara leaves to livestream, Gilbert falls asleep, and Louise wants food. Jerome puts the game away, turns the figurine, and the earthquake hits. When it passes, Clara is gone. The family walks to a nearby village, and the residents’ clothing makes clear they are in 15th-century France.
What each family member’s card does in 1497
Jerome, dealt the seer card, can hear other people’s thoughts. Gilbert, the hunter, is physically capable and mentally clear. His Alzheimer’s has no hold on him in 1497, a detail the film frames as an effect of the game’s mechanics rather than any form of recovery, and it shapes the scenes between Jean Reno and Franck Dubosc that run through the medieval section. Clara was dealt the “little girl” card, which is why she vanished from the house: she is invisible. Theo, the thief, can shapeshift by handling objects that belong to other people. Louise is one of the four werewolves the family must defeat to return home, and she transforms at night.
Our reading is that the film draws a direct line between each power and its holder. Clara’s anxiety about being overlooked in a world built around online attention becomes literal invisibility. Theo’s search for belonging in a blended family maps onto the ability to take other forms. Gilbert’s loss of self to Alzheimer’s inverts into restored physical authority. Jerome’s chronic inability to read the people closest to him produces the power to hear what they actually think.
Marie’s card is withheld until the final sequence.
How the family plans to get home
Gilbert remembers the winning condition: all four werewolves must be defeated before the family can return to the present. One of those four is Louise, which rules out straightforward force as a solution.
An Italian craftsman named Piero joins their circle and presents himself as an inventor. He helps Clara and directs the family toward a secret tunnel inside a church.
Marie brings trouble on herself when she intervenes after seeing a woman beaten by her husband in the village. Her literacy and her offhand references to divorce mark her as dangerous to the villagers. She is captured and sentenced to burn at the stake alongside a distant ancestor of Gilbert’s who faces the same charge.
Jerome secures Marie’s release before the sentence is carried out.
What happens in the final confrontation
The climax arrives at the church, where a werewolf blocks the tunnel exit Piero has built as an escape route.
Louise’s transformation can no longer be suppressed. Jerome and Marie sing to her to keep her sense of self intact. She fights the older werewolf but cannot overpower it. That is when Marie’s role activates: she is the witch, and she defeats the older werewolf and restores Louise to human form. The game cards materialize. The family puts them back in the box. The earthquake reverses.
How Family Pack ends
Back in the present, Gilbert is disoriented and his memories of 1497 are gone. He wonders aloud whether he is losing his mind, then the family reassures him.
The film’s closing image is the Louvre. A visitor pauses in front of the Mona Lisa and sees Jerome’s face. The implication is that Piero, confirmed in the final scene to be Leonardo da Vinci, based the painting on Jerome during their time together in 1497. Before leaving, Jerome told the family to buy everything Piero painted, a wink at the artist’s future importance.
The production shot at Barrandov Studios in Prague during the summer of 2023, using the medieval village set originally built for the television series Knightfall. Additional Czech locations included Drevniky, Zduchovice, and Vysluni u Chomutova. The Guardian’s Phil Hoad awarded the film three stars, calling it “rather sweet,” “well-packaged, undemanding fun,” and noting “a good degree of Bill & Ted-style sport with olden times.”
Marly and des Pallieres designed the original card game with concealment and disclosure as its central mechanic: players receive secret roles and must lie about them under pressure from others. Uzan’s screenplay, adapting that game, keeps the same mechanic as its main structural move, holding Marie’s witch card back from the audience for most of the runtime. The ending confirms this is not incidental. Concealment and disclosure are not just how the plot moves. They are what the film is about.
