Absent for twenty-four years of Cannes, the Dutch director of Basic instincts makes a thunderous return to the Croisette with it, a joyful and subversive thriller, led by Isabelle Huppert .
out for twenty-four years of Cannes, the Néerlandai Paul Verhoeven s makes a thunderous return on the Croisette This , a joyful and subversive thriller saupaudré of wry humor and sunny mix of gender violence and transgression, all served by Isabelle Huppert inhabited than ever.
the eve of the charts, the film was well received at the press screening, with laughter and applause.
“Pervert, funny, a great pleasure. Huppert and Verhoeven: a dream team, “tweeted a critique of Guardian British while in Le Figaro , we enthusiasm:” With This Paul Verhoeven born to Cannes! It’s nasty, unhealthy, immoral, sulphurous … But it! “
Express welcomes a film that plays on” an incredible range of different sensations of end violence burlesque farce. “
As for Jordan Mintzer from the Hollywood Reporter, he writes ::” All this is quite perverse, of course. This is not surprising coming from the actress or director. But which is welcome in This is the way both combine their talents to make a film that does not skimp on sex, violence and sadism, which ultimately tells how a woman uses all three to get free. “
for her first french film, the director of Basic Instinct depicts a business woman, victim one night in his beautiful house, a rape by a hooded man, the wheel moves. A scene worthy video games it produces for its work.
Michèle (Isabelle Huppert) in just a key word to his family and does not complain to the police. She buys a tear gas canister, sleeping with a hammer. And continues his life between a botoxée mother, a former depressed husband paternity evil son and a former lover future that is none other than the husband of her best friend.
She suspected while her rapist to be tied to the story that shattered his childhood: that of a father of children slaughterer, she never wanted to see again, and that reappears in favor of his parole.
the daughter of a monster, Michele will undergo another rape before unmask her attacker, who violate it again, this time with his full consent, in a memorable scene where humor and evil intermingle. To orgasm.
No stranger to controversy, one that is sometimes dubbed the “Dutch violent” originally wanted to shoot his film, based on a novel of the French Philippe Djian, Oh … in the United States. But “nobody liked this history,” he told at the press conference that followed the screening.
Too amoral heroine for America? For Isabelle Huppert is rather a character who wants to go from being “object than subject” and that “instead of suffering, wants to take control” of the situation.
Challenging sometimes summarized plot to that of a victim falling in love with her rapist, Philippe Djian sees the story of a woman “who does not want to comply with the codes submitted to us at length of life “such as calling the police when one is a victim of rape.
” This is his freedom that disturbs the viewer, “said he summarized at the press conference.
the actress, great regular at the Cannes film Festival and ready for all the experiences in the theater as in the cinema, praised the writing “dissonant” the director of 77 years, who suddenly starts “to squeak and become disturbing. “
omnipresent on screen alongside Laurent Lafitte, worrying neighbor, Anne Consigny, her best friend, Charles Berling, her former husband, Judith Magre, his unworthy mother, Isabelle Huppert imbues the film with all his cheeky ambiguity.
“We were all worn by her and wanting to wear,” summarized Anne Consigny, at the press conference.
Asked the risk of betrayal that still runs an author of romance when worn cinema, Philippe Djian, called Isabelle Huppert of “wonderful treason.”
the actress with more than 100 films, two once crowned at Cannes Best Actress award – for Violette the French Claude Chabrol in 1978 and the Piano by Austrian Michael Haneke in 2001 – seems at all if one of the best position to get to 63 third prize.