Love Crime (15)

 

Anthony Quinn
Thursday 13 December 2012 20:30 GMT
Comments
Ruthless: Kristin Scott Thomas in 'Love Crime'
Ruthless: Kristin Scott Thomas in 'Love Crime'

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

French director Alain Corneau, most famous for Tous les Matins du Monde, completed this psycho-thriller just before his death in August 2010

There are echoes of his countryman Chabrol in its story of a vicious boardroom-bedroom intrigue between two women. Christine (Kristin Scott Thomas), boss of an American multinational company in Paris, seems to be grooming her protégée Isabelle (Ludivine Sagnier) for promotion, praising her work and sending her off to Cairo to represent her.

But then she pulls a fast one at a power summit and steals all the credit, expressing her ruthlessness in the pithy motto, "Want it, and watch out."

A battle line appears to be drawn, with Christine's drippy boyfriend Philippe (Patrick Mille) straddling either side. Scott Thomas plays another of her steely femme d'affaires – not many do it better – and Sagnier, apart from one unconvincing freak-out in a carpark, plays to her strengths as the ingenue who has to learn quickly.

There are flaws: an elaborate murder plot that folds in on itself, and some of the most uproariously naff corporate-speak ever committed to film. But Corneau's silky segues from mildness to menace are nicely done, and the music by Pharoah Sanders ("Kazuko") is superb.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in