Elle (2016)

From the late 1980's into the 1990's, Paul Veerhoven was one of the biggest names working behind the camera in Hollywood. Starting with 1987's Robocop and continuing through Total Recall, Basic Instinct and Starship Troopers, Veerhoven mastered the sex and violence ties that brought audiences out to his films in droves.

But 1995's Showgirls ended his run of good fortune. Considered by most to be one of the worst films of the 90's (it's not), Showgirls all but put Veerhoven in Guantanamo Hollywood prison. And since 2000, Veerhoven has directed but three films – Hollow Man, Black Book and Tricked.

With any fortune, Veerhoven will no longer take such a long sabbatical after his latest effort, Elle which was nominated for the Palme D'Or at Cannes and had its North American Premiere at the Toronto International Film Festival this past Friday.

Elle stars Isabelle Huppert as Michele, a corporate CEO of a small video-game design company who deals with the emotional effects of a rape that occurs before the screen even fades in with the open scene. When audiences do get more than the horrifying audio of the assault, we view Michele as she fights with a masked intruder on the floor of her home. Beaten and raped, Michele cleans up and continues with her life. A prior bad history with the police leaves her not wanting to report the crime and stoically she marches on with the rape but a blip on life's resume.

But as time slowly separates her from the initial attack, it is clear that the attacker is not yet finished with is prey. Michele begins to find her house violated again by the unknown assailant and text messages from the rapist only further the intrigue. But Michele is no victim. She fantasizes about another return visit from the attacker with a more favorable result. And through her emotions she remains consistent in behavior which comes to a shock to others when she reveals the details of the attack.

Making things more complex for Michelle is her circle of family and friends. A father doing time for being a serial murder, a mother who pays young studs for sex, a son who can't hold either a job or a girlfriend and her co-workers, some of which she is sexually active with, only complicate her delicate situation.

Although Elle might seem like a mystery thriller, it is more of a character driven drama than a 'can-you-guess-who's-behind-the-mask'. So much so that Veerhoven reveals the face behind the ski mask early in the second half of the film. The reveal is to both the audience and to Michelle and how she continues to explore events on her own terms is as fascinating as it is head-scratching.

Although Veerhoven has routinely had strong women roles in his films, nothing is on par with Huppert's Michelle. The film is carried by her strong and intoxicating performance and Huppert is remarkably able to keep us involved and rooting for a woman who is mean and calculating to all those associated with her path.

Events don't exactly zig and zag towards an ending but I doubt audiences will be able to stay ahead of the smart script in determining what might occur next to our protagonist.

Elle isn't perfect, but it is perfectly cast and executed. The story will leave most in the cold and it isn't a feel-good film even if everything does eventually work itself into a nicely bowed present before the end title card.

Fmovies: 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 Â… 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 Â… 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 thr

"Elle" means "She" - the whole movie is seen through the eyes of the character played by Isabelle Huppert, a woman being victim of an aggression in the first scene of the film.

From there you will probably be unable to predict the plot, as its structure doesn't follow the rules we've been used to. At one point during the screening I thought the movie would end soon but it went on and was still engaging. At first you might think it's just a thriller but the writing has more to offer and deploys in original ways.

Isabelle Huppert delivers a great performance playing a strong female character, something quite rare in movies.

The film can be quite shocking, but never gratuitous. Verhoeven's ability to balance a serious drama with his usual "funny" ways is thought provoking without being ponderous. This dynamic was always Verhoeven's strength, even in this kind of more "auteurish" work.

Don't await slick Hollywood style here, but a somewhat dark & gritty satire on human relationships.

Loved it, can't wait for Verhoeven's take on Jesus

Elle fmovies. After seeing this film at Cannes, it left me with rather mixed emotions, and I continued thinking about it for quite some time after; so after much thought, I decided it was time to write a review of this new French new flick. 'Elle' is a thought-provoking thriller from the hands of Dutch auteur Paul Verhoeven that is definitely not suitable for the younger audiences. Verhoeven has a tendency to venture down more explicit routes (think of 'Showgirls'), but this time took a psychological approach creating a film that will definitely leave you thinking.

Now, the plot can be rather convoluted. The film runs several plot lines alongside each other and at times, you can lose track of certain characters, but if you pay close enough attention, you'll fully appreciate the complex, yet original structure Verhoeven has created. The performances in the film are all fantastic, and the direction is magnificent (Verhoeven actually took to learning French as a new language so he could utilise an entire French crew), the cinematography and soundtrack both make great accompaniments, but I personally think the film's structure was the only downside to the film.

The subject matter is rather grim, revolving around sexual assault and the estranged relationship between the main character and her parents, but there are instances of humour that just give that little hint of lightheartedness to a relatively dark premise. All-in- all I would definitely recommend this film if you're a fan of dark thrillers along the lines of 'The Girl With the Dragon Tattoo' etc, but be prepared for a no-holds brazen thriller. Nonetheless, Verhoeven has made a sincere thriller that kept me thinking well after the credits had finished, so congratulations to him for that, and for undertaking the somewhat "risky" subject matter.

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.