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Passion (2012)

R  |   |  Crime, Drama, Mystery  |  30 August 2013 (USA)
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Ratings: 5.3/10 from 15,642 users   Metascore: 53/100
Reviews: 85 user | 186 critic | 22 from Metacritic.com

The rivalry between the manipulative boss of an advertising agency and her talented protégée escalates from stealing credit to public humiliation to murder.



, (film "Crime d'amour"), 2 more credits »
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2 nominations. See more awards »



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Cast overview, first billed only:
J.J. Koch
Inspector Bach
Michael Rotschopf ...
Attorney Isabelle
Max Urlacher ...
Jörg Pintsch ...
Patrick Heyn ...
Carlo Castro ...
Fashion Show Choreographer
Detective (as Ian Dickinson)


The rivalry between the manipulative boss of an advertising agency and her talented protégée escalates from stealing credit to public humiliation to murder.

Plot Summary | Add Synopsis


No backstabbing. Just business.

Motion Picture Rating (MPAA)

Rated R for sexual content, language and some violence | See all certifications »

Parents Guide:



Official Sites:

| |  »





Release Date:

30 August 2013 (USA)  »

Also Known As:

Paixão  »

Filming Locations:


Box Office


$30,000,000 (estimated)

Opening Weekend:

$40,100 (USA) (30 August 2013)


$91,186 (USA) (20 September 2013)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:


Aspect Ratio:

1.85 : 1
See  »

Did You Know?


This is the seventh Brian De Palma movie composer Pino Donaggio has scored. Their first collaboration was Carrie (1976). See more »


Isabelle James: What do you want?
See more »


Remake of Love Crime (2010) See more »

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User Reviews

The narrator goes mad
20 June 2013 | by (Greece) – See all my reviews

DePalma's first film in five years is purely for the fans, a throwback to his sensual thrillers of old; Sisters, Obsession, Dressed to Kill. So right off the bat, this probably excludes the majority of casual viewers who will find this too messy and too illogical to be of substance. Younger viewers who simply pick this off a website, will probably see the visual tricks he pulls as weird, lame stabs on ordinary technique.

The problem is that DePalma has not changed as a filmmaker, it's the film norm that has absorbed and extended so much visual language that was considered somewhat radical in his time, so when Tony Scott films are marketed as ordinary action, of course he'll seem far less sophisticated. Same thing happened with Hitchcock near the end, when guys like DePalma where coming out.

But oh what sweet, sweet DePalmaesque inanity this is!

What DePalma is saying is always in the camera. He seems to say: this is a movie, the result of illusory placement of the eye, so why not go wild on placement? Also: the eye, by its very nature, causes narrative dislocation. He is intelligent, not in what the dislocations mean but in the fact they are shown to be at work, which now and then fool as depth in just the same way they fool the characters.

You'll see all sorts of fooling the eye here. The car crash in the company garage, first filmed as dramatic with lachrymose piano cues and the second time as comedy. Scenes filmed with dutch angles and unusual shadows to register as dream but they are real. A split-screen that lies about its timeline. A scene set-up to be viewed as hallucinative dream but it's a flash back. And later we know it was an untrusted narration.

Many others will make a more streamlined, more exciting thriller, but no one is so committed to expose cinematic illusion like DePalma. He doesn't hit deep, because the illusion is not wrapped around character but around plot, that is always the tradeoff with him. A tradeoff I am willing to make, because I can find more introspective filmmakers elsewhere. There is Wong Kar Wai, Shunji Iwai. Lynch, who brings illusion alive.

But then you have an ending like this. It is utterly nonsensical as story, but the narrator has fooled us so much we'll fool ourselves thinking it's more than madness.

53 of 72 people found this review helpful.  Was this review helpful to you?

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