Cash Queens: Five Women Rob a Bank Disguised as Men in New Heist Satire

In the sun-drenched but economically fractured landscapes of the South of France, desperation breeds invention. Cash Queens (originally Les Lionnes) arrives as a sharp subversion of the heist genre, centering on five women who realize that to survive in a man’s world, they quite literally have to become men. By blending high-stakes action with social commentary on the daily hustle for survival, the series uses a radical disguise to explore how invisible women force a corrupt system to pay attention.

The Streaming Landscape and the Arrival of Cash Queens

Introduction: A New Flagship for Netflix France

The global streaming landscape is about to witness the arrival of Cash Queens, a production that marks a significant evolution in Netflix’s European content strategy. Positioned as a “tentpole” release for the mid-winter season, the series premieres exclusively on the platform, joining a robust slate of international programming intended to capture a diverse, global viewership.

The series emerges at a time when French television is enjoying an unprecedented renaissance on the global stage. Following the transnational success of hits like Lupin and Call My Agent!, Cash Queens appears designed to leverage the specific alchemy of “French Touch” comedy—characterized by its irreverence and social observation—welded to the universal appeal of the heist thriller. The release strategy is aggressive: the series drops in its entirety on a Thursday, a prime slot for building weekend binge-watching momentum across the US and European markets.

The show’s positioning is clear from the surrounding slate. It launches alongside heavy hitters like The Lincoln Lawyer and the German thriller Unfamiliar, suggesting that Netflix views Cash Queens not as a niche foreign-language offering, but as a core pillar of its new lineup. This “glocal” approach—local stories with global distribution mechanics—places the series under intense scrutiny as a bellwether for the continued viability of high-budget European dramedies.

The Premise: Desperation, Disguise, and the “Galère”

At its narrative core, Cash Queens is a story of economic survival. The series is set against the sun-drenched backdrop of the South of France—specifically the working-class neighborhoods of Marseille and Salon-de-Provence—providing a stark contrast between the region’s touristic glamour and the gritty reality of its inhabitants.

The plot mechanism is triggered by what French sociologists and the show’s marketing materials term “la galère”—the hustle or struggle of daily life on the economic margins. Five women, described as “troubled friends” pushed to the brink of financial ruin, decide to take radical action. Their plan is audacious in its simplicity and risky in its execution: they form a gang, steal firearms, and rob a bank.

However, the series introduces a critical twist that distinguishes it from standard heist fare. To bypass the gendered expectations of violence and criminality, the women execute the robbery disguised as men. This narrative device serves multiple functions: it creates the immediate tension of the physical disguise, offers a source of comedic misunderstandings, and provides a layer of social commentary on who is “allowed” to be a threat in society.

The payout for this high-stakes gamble is notably specific: €36,280. This is not the multi-million dollar haul of Ocean’s Eleven or Money Heist. It is a life-changing sum for the characters, yet tragically insufficient to buy their freedom from the consequences that follow. The theft acts as an inciting incident rather than a resolution, triggering a “spiral” of events involving local politicians, law enforcement, and organized crime syndicates.

The Creative Architecture

The Showrunners: Olivier Rosemberg and Carine Prevot

The creative vision for Cash Queens stems from the collaboration between Olivier Rosemberg and Carine Prevot. Their partnership represents a continuity of talent within the Netflix France ecosystem. Rosemberg is a known quantity, having previously collaborated on Family Business, a series that successfully domesticated the crime genre by blending it with family sitcom tropes.

Olivier Rosemberg (Director/Creator/Writer): Rosemberg’s directorial style is often characterized by a balance of chaotic energy and character-driven humor. His involvement suggests that Cash Queens will avoid the grim, self-serious tone of traditional “Nordic Noir” in favor of a more vibrant, rhythmic storytelling style.
Carine Prevot (Creator/Writer): Prevot’s influence, alongside writer Mahaut Mollaret, points to a writing room focused on fleshing out the distinct female perspectives of the five protagonists. The narrative is described as “multi-layered,” blending noir, social satire, and a portrait of women facing economic hardship.

This creative team appears to be graduating from the domestic sphere of Family Business to a broader social canvas. The showrunners have crafted a narrative engine driven by the “contradictions that emerge when a desperate act becomes a repetitive mechanism”. This implies a shift from episodic comedy to a more serialized, consequence-heavy drama where the characters’ choices have irreversible narrative weight.

Production Context: Les Films entre 2 et 4

The series is produced by Les Films entre 2 et 4, with a production team that includes Vincent Lefeuvre, Benjamin Bellecour, and Jonathan Cohen. The involvement of Cohen as a producer is particularly significant. It signals that the show is not merely a “work for hire” for its star but a passion project, likely granting the creative team greater autonomy in tone and casting.

Cinematography duties fall to Vincent Gallot and Alexandre Jamin. Their task is to capture the “Southern” aesthetic—a visual language often referred to as “Sunshine Noir.” Unlike the grey, rain-slicked streets of Paris, the South of France offers blinding light, saturated colors, and a geography that includes both claustrophobic urban housing projects and sweeping coastal roads. The mention of “car chases” and “guns” confirms that the production values will support dynamic action sequences, utilizing this unique topography.

The Ensemble Cast – “Les Lionnes”

The casting strategy for Cash Queens is a deliberate exercise in contrast, merging prestigious theatrical talent with comedy heavyweights and rising stars. The titular “Queens” or “Lionnes” are portrayed by five distinct actresses who embody the diverse faces of modern France.

The Five Leads

The series rests on the chemistry of its central quintet. These characters are not career criminals; they are “ordinary women” invisible to the system until they force the world to pay attention.

Rebecca Marder:

Background: A former pensionnaire of the Comédie-Française, Marder has rapidly become one of the most versatile actresses of her generation. Her recent work (e.g., Simone, le voyage du siècle) has demonstrated a capacity for deep dramatic resonance.
Role Significance: Casting a classically trained actress like Marder suggests the show will demand significant dramatic weight alongside its comedic beats. She likely anchors the group’s emotional arc, portraying the tension between their ordinary lives and their criminal actions.

Zoé Marchal:

Background: Known for roles in Tapie and Nouveaux Riches, Marchal brings a grittier, more grounded energy.
Role Significance: Her presence often signals a connection to street-level realism. In a show about the “galère” of the working class, Marchal’s performance will be crucial in selling the desperation that motivates the heist.

Naidra Ayadi:

Background: A Cesar-winning actress (for Polisse), Ayadi is a powerhouse performer known for her raw authenticity.
Role Significance: Ayadi often excels in roles that require a toughness forged by circumstance. Her casting fits perfectly into the archetype of a woman who is the “spine” of her community or family, now pushed to break the law to protect it.

Pascale Arbillot:

Background: A veteran of French comedy and drama (French Lover), Arbillot is adept at playing characters who maintain a veneer of bourgeois normalcy while unraveling internally.
Role Significance: In a group of “amateur thieves,” Arbillot provides the potential for high comedy—the character who is most out of place in the criminal underworld, yet perhaps the most surprising in her adaptability.

Tya Deslauriers:

Background: Known for Une vie rêvée, Deslauriers represents the younger energy within the group.
Role Significance: Her character likely bridges the generational divide, representing the specific frustrations of French youth facing economic stagnation.

The Male Counterparts: Comedy and Chaos

While the women drive the narrative, the supporting cast includes two of the most recognizable faces in Francophone comedy, ensuring the series retains high commercial visibility.

Jonathan Cohen:

Star Power: Cohen is arguably the biggest comedy star in France today, known for his improvisational genius in La Flamme and Le Flambeau.
Role Dynamics: Reports suggest he plays a “marked secondary role” here. This is a strategic deployment of star power. By stepping back into a supporting role, Cohen allows the women to shine while providing bursts of his signature absurd humor. His character is likely a foil to the women—perhaps an incompetent antagonist or an unwitting ally.
François Damiens:

Style: The Belgian actor is a master of discomfort and deadpan humor (The Family Bélier).
Narrative Function: Damiens excels at playing characters who are socially awkward or borderline unhinged. Placing him in the orbit of an amateur heist crew promises a layer of unpredictable chaos. Whether he plays a police inspector or a rival criminal, his interactions with the “Queens” will likely be a highlight of the show’s comedic architecture.

The ensemble is rounded out by Sami Outalbali, known globally for his role as Rahim in Sex Education. His inclusion further bridges the gap between French domestic cinema and the global Netflix youth demographic. Other cast members include Steve Tientcheu, Brahim Koutari, Lucas Mortier, Ali Gendi, Victor Sansano, and Anastasia Augst.

Genre Analysis – The Social Thriller Meets the Heist Comedy

Cash Queens enters a crowded genre space but carves a unique niche by hybridizing the “Heist Film” with the “Social Problem Drama.”

The Heist as Social Allegory

The synopsis emphasizes that the protagonists are “ordinary women” invisible to the system. This aligns the series with a lineage of “economic desperation” crime stories—films like Set It Off or Hell or High Water—where the crime is not motivated by greed but by survival.

The Motive: The heist here is a reaction to “social panic” rather than a calculated criminal enterprise.
The Stakes: The “36,280 euros” take is telling. It is a specific, modest amount. This specificity grounds the stakes: they aren’t trying to buy private islands; they are likely trying to pay off debts, back rent, or predatory loans. This financial realism anchors the high-concept premise in a relatable reality.

The Gender Flip: Disguise and Performativity

The plot device of robbing banks “disguised as men” is the series’ most distinct narrative hook. This is not merely a tactical ploy but a loaded thematic choice.

Performativity: In the crime genre, the “bank robber” is archetypally male. By adopting male drag, the characters are literally and metaphorically stepping into a male-dominated arena of violence and agency.
The “Mask”: It suggests that to be taken seriously as a threat—or perhaps, to access the “easy money” of the criminal world—they must perform masculinity. This layer of performance adds a meta-textual comedy element, as the women must navigate the physicality and swagger of their male personas, likely leading to the “clumsiness” mentioned in early reviews.

The “Dramedy” Balance

Netflix describes the show variously as a “Comedy,” “Action,” “Drama,” and “Crime Thriller”. This multi-hyphenate categorization is typical of modern streaming content which refuses strict genre silos.

Humor Source: The presence of Olivier Rosemberg and Jonathan Cohen suggests the humor will be character-driven and situational, likely deriving from the incompetence of the thieves and the absurdity of their escalation.
Tension Source: However, the mention of “gangsters,” “guns,” and “political pressure” warns that the stakes are lethal. The show must balance the “euphoric highs” of the heist with the “noir” reality of the consequences. The transition from the adrenaline of the robbery to the dread of the investigation is where the series will find its dramatic rhythm.

Cultural Relevance – “Les Lionnes” Today

The upcoming release of Cash Queens comes at a time of heightened awareness regarding economic inequality and gender dynamics in France.

The “Galère” Generation

The French term “galérer” (to struggle/hustle) is central to the show’s marketing. The characters are defined by their struggle against a system that has left them behind. This resonates deeply with the current socio-economic climate, where inflation and cost-of-living crises are dominant political themes. By centering the narrative on working-class women, the show gives voice to a demographic often sidelined in high-octane action cinema. The show posits that for these women, the “system” is broken, and the only way to fix their lives is to break the rules.

Female Solidarity as Survival

The title Les Lionnes (The Lionesses) evokes imagery of a pack—fierce, protective, and matriarchal. The core theme is solidarity. In a world of “politicians, police, and gangsters” (predominantly male spheres of power), the women have only each other. This “Thelma & Louise” dynamic—expanded to a group of five—taps into a powerful vein of feminist storytelling where female friendship is the ultimate survival mechanism. The narrative focuses on “solidarity and the contradictions that emerge” when the group is under pressure. The bond between the women is not just emotional; it is tactical.

The “Sud” (South) as a Character

The setting of the South of France is crucial. The region has a specific cinematic identity in France—often associated with corruption, crime, but also intense beauty and vitality. Cash Queens utilizes this “Sud” mythology.

Visual Contrast: The blinding sun vs. the dark deeds.
Social Geography: The proximity of extreme wealth (the Riviera) and extreme poverty (the Projects) provides a visual shorthand for the inequality driving the plot.

Reception and Global Outlook

Critical Anticipation

Critics and early previews have highlighted the show as a “must-watch” for fans of heist dramas. The combination of “thrills, spills and euphoric highs” suggests it is designed as a “binge-watch” experience.

Comparison Points: The show is likely to be compared to Good Girls (US) or Widows (UK/US), which also feature women turning to crime out of desperation. However, the specific French tone—likely more farcical and socially biting—will set it apart.
Audience Targeting: The show targets the intersection of two massive demographics: the “Comedy” audience drawn by Cohen/Damiens, and the “Thriller” audience drawn by the Netflix algorithm’s preference for crime content.

The Netflix Algorithm and Distribution

Netflix has positioned Cash Queens as a major international release, premiering globally this season. It is marketed as an “Original” in multiple territories, with subtitles and dubbing likely available immediately.

Release Window: The release timing is strategic, avoiding holiday clutter but arriving while audiences are still indoors and seeking content.
Format: The show consists of 8 episodes, each approximately 52 minutes long. This is the standard French broadcast format, allowing for a dense, serialized narrative that fits perfectly into the weekend binge model.

Summary of Key Production Data

Category	Details
Global Title	Cash Queens
Original Title	Les Lionnes
Total Episodes	8 Episodes (approx. 52 min each)
Platform	Netflix (Global Premiere)
Genre	Action, Comedy, Crime Drama, Thriller
Creators	Olivier Rosemberg, Carine Prevot
Production Co.	Les Films entre 2 et 4
Filming Locations	South of France (Marseille, Salon-de-Provence)

Detailed Cast & Crew Breakdown

Role	Name	Known For / Context
Director/Creator	Olivier Rosemberg	Family Business (Netflix)
Creator/Writer	Carine Prevot	Family Business
Writer	Mahaut Mollaret	Screenwriting team
Producer	Jonathan Cohen	La Flamme, Le Flambeau
Producer	Benjamin Bellecour	Les Films entre 2 et 4
Cinematography	Vincent Gallot	Visual direction
Cinematography	Alexandre Jamin	Visual direction
Cast (Lead)	Rebecca Marder	Simone, le voyage du siècle (Comédie-Française alum)
Cast (Lead)	Zoé Marchal	Tapie, Nouveaux Riches
Cast (Lead)	Naidra Ayadi	Polisse (Cesar Winner)
Cast (Lead)	Pascale Arbillot	French Lover, Les Petits Mouchoirs
Cast (Lead)	Tya Deslauriers	Une vie rêvée
Cast (Supporting)	Jonathan Cohen	Family Business
Cast (Supporting)	François Damiens	La Famille Bélier, L’Embrouille
Cast (Supporting)	Sami Outalbali	Sex Education (Rahim)
Cast (Supporting)	Steve Tientcheu	Les Misérables, Bâtiment 5

The Verdict on Cash Queens

Cash Queens is more than just a heist show; it is a cinematic experiment in tone and representation. By handing the guns and the getaway cars to five working-class women and filtering the action through the comedic lens of Olivier Rosemberg and Jonathan Cohen, Netflix is betting on a fresh, subversive take on the genre.

The series promises to be a high-energy cocktail of laughs and tension, but its lasting impact may lie in its portrayal of the “Lionesses” themselves—women who refuse to be crushed by the weight of their circumstances. As audiences tune in, they will find a series that asks a compelling question: In a world rigged against you, is the only way to get ahead to become someone else entirely? For the women of Cash Queens, the answer involves a mask, a gun, and the unbreakable bond of the pack.

With its potent mix of social commentary, star power, and genre thrills, Cash Queens is poised to be one of the most talked-about French exports of the year. Whether it can sustain the delicate balance between farce and tragedy remains to be seen, but the ingredients for a global hit are undeniably present. The heist begins on February 5, 2026, and the world will be watching.