Una donna cerca di sistemare la sua vita, anche se il suo passato di truffatrice torna a tormentarla.Una donna cerca di sistemare la sua vita, anche se il suo passato di truffatrice torna a tormentarla.Una donna cerca di sistemare la sua vita, anche se il suo passato di truffatrice torna a tormentarla.
- Premi
- 2 vittorie e 4 candidature
Rebecca Romijn
- Laure
- (as Rebecca Romijn-Stamos)
- …
Thierry Frémont
- Serra
- (as Thierry Fremont)
Jean-Marc Minéo
- Seated Guard
- (as Jean-Marc Mineo)
Stéphane Petit
- Bodyguard One
- (as Stephane Petit)
Éva Darlan
- Irma
- (as Eva Darlan)
Philippe Guégan
- Bespectacled Man
- (as Philippe Guegan)
Trama
Lo sapevi?
- QuizBrian De Palma couldn't find the right girl to play Veronica. Rebecca Romijn convinced him that one of her friends, Danish model Rie Rasmussen, would be perfect for the job. He met her and signed Rasmussen because he loved the way she walked.
- BlooperIt's not possible to record with the Sony MiniDisc recorder used in the movie without using an external microphone.
- ConnessioniFeatured in Brian De Palma, l'incorruptible (2002)
- Colonne sonoreMy Ideal
(1930)
Music by Newell Chase and Richard A. Whiting
Lyrics by Leo Robin
Played during the La fiamma del peccato (1944) clip
Published by Famous Music Corp. (ASCAP)
Recensione in evidenza
Auteur theory is alive and well with De Palma
Mr. De Palma is not a critics' darling, and as such his latest, Femme Fatale, has come in for his usual roasting. Is it deserved? Not if you love a film that embraces the visual splendour and techniques that make cinema a unique art form.
Femme Fatale sees De Palma returning to his forte: the suspense thriller. It is a welcome return considering his recent fare have seen him straying to more mainstream efforts - Mission to Mars, Mission: Impossible - that were shells of his virtuoso films of the late 70s and early 80s.
The film leads off with a stunning 20-minute Jewel heist sequence that takes place during the Cannes film festival of 2001. Completely bereft of dialogue, a la Topkapi, Rebecca Romijn-Stamos's character has the enviable task of lifting a diamond dress from Rie Rasmussun in a bathroom encounter. His first original screenplay in 10 years, De Palma writes a tightly-plotted tale that certainly does not lead the audience by the hand, and the resulting twists it provides will allow different perspectives on the film's events with repeat viewings.
Antonio Banderas - usually lost without cause if not working with Robert Rodriguez - does what he needs to do with efficiency; Romijn-Stamos, the Femme Fatale of the title, provides the eye candy. The acting is not top drawer, but it does not need to be: we're here to see an auteur in his element: De Palma delivers. Cinema is more than a stage with a camera - De Palma uses his camera and cinema technique to brilliant effect. Huge swooping camera movements, split-screen, slow motion sequences, no dialogue and an enveloping orchestral score; De Palma's signature is prevalent. And that is good: a director should never be an autonomous entity, happy to turn out derivative drivel that get the masses in and out - directors for hire are too commonplace in Hollywood today - and that is something that De Palma could never be accused of.
Femme Fatale is a great example of a director working in a genre he loves and understands, and given the freedom to create. Total cinema? Its smell is sure intoxicating. Welcome back, Mr. De Palma.
Femme Fatale sees De Palma returning to his forte: the suspense thriller. It is a welcome return considering his recent fare have seen him straying to more mainstream efforts - Mission to Mars, Mission: Impossible - that were shells of his virtuoso films of the late 70s and early 80s.
The film leads off with a stunning 20-minute Jewel heist sequence that takes place during the Cannes film festival of 2001. Completely bereft of dialogue, a la Topkapi, Rebecca Romijn-Stamos's character has the enviable task of lifting a diamond dress from Rie Rasmussun in a bathroom encounter. His first original screenplay in 10 years, De Palma writes a tightly-plotted tale that certainly does not lead the audience by the hand, and the resulting twists it provides will allow different perspectives on the film's events with repeat viewings.
Antonio Banderas - usually lost without cause if not working with Robert Rodriguez - does what he needs to do with efficiency; Romijn-Stamos, the Femme Fatale of the title, provides the eye candy. The acting is not top drawer, but it does not need to be: we're here to see an auteur in his element: De Palma delivers. Cinema is more than a stage with a camera - De Palma uses his camera and cinema technique to brilliant effect. Huge swooping camera movements, split-screen, slow motion sequences, no dialogue and an enveloping orchestral score; De Palma's signature is prevalent. And that is good: a director should never be an autonomous entity, happy to turn out derivative drivel that get the masses in and out - directors for hire are too commonplace in Hollywood today - and that is something that De Palma could never be accused of.
Femme Fatale is a great example of a director working in a genre he loves and understands, and given the freedom to create. Total cinema? Its smell is sure intoxicating. Welcome back, Mr. De Palma.
D’aiuto•7432
- scoob-
- 10 nov 2002
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Dettagli
- Data di uscita
- Paesi di origine
- Sito ufficiale
- Lingue
- Celebre anche come
- Người Đàn Bà Tội Lỗi
- Luoghi delle riprese
- 11 Rue d'Eupatoria, Paris 20, Parigi, Francia(Bardo's apartament)
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 35.000.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 6.630.252 USD
- Fine settimana di apertura Stati Uniti e Canada
- 2.776.248 USD
- 10 nov 2002
- Lordo in tutto il mondo
- 16.838.910 USD
- Tempo di esecuzione1 ora 54 minuti
- Colore
- Mix di suoni
- Proporzioni
- 1.85 : 1
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