Elle

No, folks, Paul Verhoeven has not changed, not at all, and I doubt if he will in the future. He has never made any French feature before this one, but if I had seen this movie without knowing the director's name, I would have recognized him after only forty five minutes. And if you remove all the provocative sequences, you have the feeling to watch a Claude Chabrol's film, and not only because of Isabelle Huppert's presence. This film looks like a mix up between Verhoeven, Hitchcock and Chabrol, especially concerning the bourgeois families criticism...Verhoeven still loves provoking, shocking the audiences. The screenplay is not made with a strong suspense but despite that, you are glued to this movie. No suspense here, except concerning the rapist identity. But once you know him, you guess that the movie will finish, but it continues, and no, you are not bored. A real curiosity. Isabelle has a way of playing with her face, an expression that only her has. Especially when she says to some one that she has no opinion or something like that. Only her reacts this way.

Isabelle Huppert migh have signed a pact with the devil. She´s still incredibly sexy at over 60 years old and as unique as always. "Elle" it´s all about her (duh) and no other actress could have possibly made it. A classy production with moments of great tension but I find this to be a character study more than anything else. A woman and her circumstance: her family, her work, her friends and, of course, her sexuality. It might be controversial but it´s not cheap. She´s not an ordinary woman and her father and her mother both have an important role in the film as to know why. Everything else is plausible due to her condition, from her son´s character issues to her affairs and further. Nothing is taken lightly, every situation or decision is determined by her psychology.

Now, I´ve seen how it enrages a lot of people. I guess they´re not familiar with Huppert´s work. There´s, of course, "La pianiste" but I find "Ma mère" to be worse. She´s always had a taste for moral uncertainty and she´s never been afraid of playing with its limits. Verhoeven is similar and this is a clear highlight in his appalling filmography. I wonder what would happen if "The Clockwork Orange", for instance, was made today? I´m not a fan of it but it´s widely regarded as a classic. We shouldn´t forget these are movies, not real life. Violence or pshycopathy are still a part of the human condition, however unpleasant they might be. I´m unfortunately close enough to rape reality to assert my opinion. "Elle" isn´t overly serious and never tries to be more than it is: two entertaining hours of drama.

Apparently so controversial that several American actors passed up on the opportunity to play the lead part and Paul Verhoeven had to take his long-awaited return (to form at least) out of the US entirely, this subversive pseudo psycho-sexual thriller represents a rather unique take on the tried and tested rape-revenge genre, moving far away from pure exploitation and instead heading into an enthralling exploration of the taboo desires of slightly sociopathic people. There's nothing really conventional about 'Elle (2017)' and that might be what makes it so compelling, with the absolutely phenomenal screenplay brought to life by equally engaging, rivetingly realistic power-house performances, and the fact that each intriguing new layer just feels so natural despite the brazenly bizarre tone and inconsistent pacing is a testament to the rich character development and world building that makes the piece seem so wholly believable. 7/10

Paul Verhoeven has always worn the mantle of provocateur with pride, from the alluringly pulp "Basic Instinct" to the scandalous stripper saga that was "Showgirls." Even when he dips his toe in genre fare, there's still nevertheless an undercurrent of erotic satire in them (remember the tri-boobed woman in "Total Recall"?). Even when Verhoeven plays it straight, like in the brilliant "Black Book", his films nevertheless drip with sensuality. His latest film, however, takes a more measured but by no means less lacerating tack.

At first glance, "Elle" is so cold-blooded it could almost be mistaken for a Michael Haneke film, especially as it features Haneke's muse, the glacially poised Isabelle Huppert, at its center. Certainly, "Elle" kicks right off in a suitably brutal manner one would typically see from Haneke: namely, the savage rape of its primary character in her own home by a masked intruder. Shades of "Funny Games" certainly are evident here, but Verhoeven nevertheless keeps his own brand of reptilian energy alive in the film. Huppert's Michèle immediately gets back into her daily routine: overseeing the newest release from her video-game company, dealing with the drama of her son's upcoming fatherhood with a girl Michèle cannot stand, and seeing her mother tentatively flirting with a new marriage while her father, a convicted murderer, languishes in prison. With everything on Michèle's plate, a little sexual assault is merely seasoning.

The shocking opening scene will certainly have audiences squirming, and indeed Verhoeven revisits it a couple of times throughout the film as Michèle mulls over the event, with variations here and there as she imagines how she could have defended herself—or provoked him further. And despite her desire to move on from the event, it continues to linger, especially as her assailant sends her threatening texts that he may not be done with her. But rather than go to the police, Michèle finds herself almost being an encouraging presence to her assailant, as though she craves the demeaning, degrading act to which she was subjected.

It is certainly a problematic viewpoint for any film to have: that of a rape victim desiring to return to the act itself. But Verhoeven's lurid sensibility strangely doesn't hit the exploitative level that he typically sets out to achieve. While the story does juggle its fair share of melodramatic subplots (swapping out an affair for a cuckolding here while touching on a dark childhood there), it mostly focuses on playing up the stalker cat-and- mouse theme. Michèle goes the "Brave One" route at first: buying (and using) mace, going to a gun range. But as all of her life's little foibles start to coalesce all at once, it's almost as though she seeks the grim simplicity of simply being a "victim."

I've always found Huppert to be a technically masterful but nevertheless somewhat clinical actress, one whose austerity can sometimes keep us at arm's length when she should instead be drawing us closer, deeper. I find that can be a bit of a detriment to some of her performances, but "Elle" relies on that puritanical presence, and her ascetic approach to her portrayal of Michèle is largely what makes the film work in the first place. She navigates the hectic labyrinth of her life like a ship cutting through thick fog, and even as Verhoeven puts his thumb on the tongue-in-cheek scales, she never once feels like she's in on the joke. Though Huppert was not Verhoeven's first choice (he shopped the script to the likes of Marion Cotillard and Carice van Houten beforehand), she nevertheless feels like the right one. Her flinty nature provides the dour center the film requires.

"Elle" does feel a bit bloated in his second half, and I honestly could've done with most of its tangential subplots being axed. Verhoeven's films generally outstay their welcome in terms of runtime, and Ellecomes dangerously close to that, but Huppert's compelling performance and Verhoeven's approach to the material will keep audiences in their seats, albeit forever squirming.

Greetings again from the darkness. It's best not to pre-judge what to expect in a new Paul Verhoeven directed film. We haven't seen or heard much from him in the past decade (the underrated Black Book, 2006), but we know surprises and twists and entertainment will be part of his work given his track record of Robocop, Total Recall, Basic Instinct, and Showgirls. Factor in that he is now working with one of the best actresses on the planet in Isabelle Huppert, and we walk into the theatre with no assumptions but a high level of anticipation.

The phrase 'tour de force' is no exaggeration for Ms. Huppert's performance here. No time is provided for settling into one's seat as the opening scene stuns us with a brutal sexual attack by a masked intruder. Afterwards, the bloodied victim calmly cleans the house, soaks in a tub and orders takeout. This is our introduction to Michele (Huppert) and begins our two hour mission of trying to figure her out.

Is she the ultimate feminist? She is the co-owner (with her best friend Anna) of a video game company that specializes in highly stylized and violent fantasy games (no subtle irony in that). Is she demented? She fools around with the husbands of her best friend and neighbor. Is she simply off-center? She scolds her mother for wanting to marry a much younger man, and her son for living with his selfish girlfriend who has a new baby via another man. She is not a good friend, business partner, mother, daughter, wife or person. This is no sympathetic character, yet thanks to Ms. Huppert, we simply can't take our eyes off of her or stop wondering how she will handle the next situation (of which there are many).

Based on the novel "Oh …" by Phillipe Dijan, with a screenplay from David Birke (who has a similar theme in much of his work), the film spares us little from the daily life of Michele. We see her as a confident business person, a sexual being – whether peering through binoculars at a neighbor or trysting with a married man - and a somewhat devious and devilish person intent on revenge. It's not until later in the film that we learn the family history that has been the driving force behind her rebuilding her life while also being unable to escape the past.

Ms. Huppert is in most if not every scene. It's a powerful and rare performance that is complemented by some fine supporting actors: Anne Consigny as Anna (Michele's friend and business partner), Christian Berkel as Robert (Anna's husband and Michele's play toy), Charles Berling as Richard (Michele's ex-husband), Judith Magre as Michele's mom, Laurent Lafitte as Patrick (the neighbor), and Jonas Bloquet as Vincent (the dim bulb son). Michele has interactions with each of these characters … none better than the Christmas dinner party where all are in attendance.

Verhoeven's film can be viewed as a slightly sleazy guilty pleasure, or as a profile of a strong, independent woman with a flawed moral compass. It's a reminder that we never fully escape the shadow cast by our parents, and some pay a greater price than others. It's rumored that no major American actress would take on the role, which in the end, benefits the film greatly … no other actress could have provided what was needed (except perhaps Barbara Stanwyck, who died more than 25 years ago). Ms. Huppert's performance allows this to cross many genres, and it is undoubtedly the best of the year in this category: a comically mean rape-revenge psychological thriller centered on consent and desire. Should you doubt this, perhaps Michele's own words will convince: "Shame isn't a strong enough emotion to stop us from doing anything at all." It's a pleasure to meet you ma'am.