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Femme Fatale (2002)

6.3
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Ratings: 6.3/10 from 26,015 users   Metascore: 59/100
Reviews: 227 user | 141 critic | 30 from Metacritic.com

A woman tries to straighten out her life, even as her past as a con-woman comes back to haunt her.

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Title: Femme Fatale (2002)

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Cast

Cast overview, first billed only:
...
Laure / Lily (as Rebecca Romijn-Stamos)
...
...
...
Black Tie
Edouard Montoute ...
...
Thierry Frémont ...
Serra (as Thierry Fremont)
...
Fiona Curzon ...
Daniel Milgram ...
Pierre / Bartender
Jean-Marc Minéo ...
Seated Guard (as Jean-Marc Mineo)
Jean Chatel ...
Cannes Commentator
Stéphane Petit ...
Bodyguard One (as Stephane Petit)
Olivier Follet ...
Bodyguard Two
Eva Darlan ...
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Storyline

The thief Laurie Ash steals the expensive diamond jewel called 'Eye of the Serpent' in an audacious heist during an exhibition in Cannes 2001 Festival. She double-crosses her partners and is mistakenly taken as Lily, a woman who lost her husband and son in an accident and is missing since then, by an ordinary family. One day, while having bath in Lily's bathtub, Lily comes back home and commits suicide. Laurie assumes definitely Lily's identity, goes to America where she marries a rich man, who becomes the Ambassador of USA in France. When Laurie returns to France, her past haunts her. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Plot Synopsis

Taglines:

Nothing is more desirable or more deadly than a woman with a secret


Motion Picture Rating (MPAA)

Rated R for strong sexuality, violence and language | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Country:

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Language:

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Release Date:

6 November 2002 (USA)  »

Also Known As:

Mujer fatal  »

Filming Locations:

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Box Office

Budget:

$35,000,000 (estimated)

Opening Weekend:

$324,709 (Japan) (29 August 2003)

Gross:

$567,253 (Japan) (29 August 2003)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

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Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Early in the movie, a security technician drinks from a distinctive pear-shaped bottle. This is Orangina, a carbonated citrus-flavored soft drink that is very popular in Europe. See more »

Goofs

You cannot record with the Sony MiniDisc recorder used in the movie without using an external microphone. See more »

Quotes

Laure Ash: So I went back to the states and got everything a bad girl wants.
See more »

Connections

References Rear Window (1954) See more »

Soundtracks

Sexe
(2002)
Performed by Damien Saez (as Saez)
Written by Damien Saez, Franck Phan and Martin Jenkins
Published by De Fil En Aiguille / Franck Phan
© 2002 Island Records (France)
Courtesy of De Fil En Aiguille/Editions Franck Phan & Universal Music Special Projects France
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
A masterpiece
13 June 2003 | by (Argentina) – See all my reviews

As I read the comments I can't help wonder how is it possible nobody thought this movie is an essay on cinema as well as a re-read of De Palma's own creations and obsessions. The questions on the board suggest that almost nobody pay attention even to the plot. 21 years before, "Blow Out", De Palma's most transparent reference to cinema craftsmanship and the relations between cinema and reality, and, what is most important, to cinema as knowledge (or even revelation), merged from an almost hopeless vision of the world: at the end of the film, Jack Terry, the character played by Travolta, had found the truth, but the price he paid for it is loneliness and madness maybe (just like Hackman at the end of Coppola's "The Conversation"); revelation is for him a sort of curse as he lost his second chance (one of the director's recurrent themes) as far as reality made the grade with its web of lies and corruption. "Femme fatale" shows that De Palma get older and wiser: even though reality is as corrupted and plenty of lies as two decades before, his faith on cinema as knowledge (what is cinema but a dream?) is stronger than then. He also has change his point of view about women. This turn, that started with "Carlito's Way" and even more on "Snake Eyes", is evident here, as he shows his own change of mind through a character that goes from his old kind of female character to the new one. (And those who wonder about the snake, read the Bible --Genesis.) At the very beginning of the movie, Laure's reflection on the tv screen reunites she and Barbara Stanwyck as the summa and the evolution of the femme fatale kind of character. That "DOUBLE indemnity" starts a game of doubles along the movie. Later, when the character of Lily appears, there's a choice to be made: Laure (of course, the reference is to Preminger's "Laura" though the film pays clearer homage to Hitchock's "Vertigo") has to decide to became Phyllis Dietrichson or to became Lily. The "dream strategy" is full of risk; in fact, when a writer/director uses it as a solution, the task is condemned to failure. But De Palma uses it masterfully, because dream is not a solution but a way: there are ten minutes of movie left after it to give that "dream strategy" a new sense and a justification that any film ever gave. As I wrote before, that dream is built as a movie watch by both audience and Laure. But the collage made by Banderas character is also a movie: a frame by frame (or scene by scene) construction of a reality that is out-of-time of that reality. De Palma, at the end of the film, tell us: that is what cinema is made of -different scenes shot under diverse lights in separate times, joined under one look and put together to make sense. We, as spectators, are the ones that can contemplate that work finished, and this final revelation, as the one at the end of "Citizen Kane", ask us to be able to join the pieces and reach knowledge cinema can give. There is a lot to write about this movie; these are only silly notes compared to the type of study "Femme Fatale" deserves. For those who are not interested on analysing a movie and just want to know if they will have fun watching it, I can only say that you can enjoyed the movie, with its twists and its suspense, even if you don't notice what I am talking about. "Femme Fatale" is an underrated masterpiece. Long live Brian De Palma (even if he has to live in France).


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Why so underrated? vtastek
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