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Confidences trop intimes (2004)

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A Frenchwoman tells her marital troubles to a man she mistakes for a psychiatrist, and soon they form an unusual relationship.

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(scenario and dialogue), (adaptation) | 1 more credit »
3 nominations. See more awards »

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A remake of Patrice Leconte's "Intimate Strangers," which centers on a woman who shares her deepest secrets with a man she thinks is a therapist.

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Cast

Cast overview, first billed only:
... Anna
... William
Michel Duchaussoy ... Dr. Monnier
... Jeanne
... Marc
Laurent Gamelon ... Luc
... Mrs. Mulon
... Chatel
Isabelle Petit-Jacques ... Dr. Monnier's Secretary
Véronique Kapoyan ... Female Guard (as Véronique Kapoian)
... Messenger
Albert Simono ... Mr. Michel (as Alberto Simono)
Claude Derepp ... The Customs Client (as Claude Dereppe)
Aurore Auteuil ... The Student Nabokov
Ludovic Berthillot ... The Mover
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Storyline

Because she picked the wrong door, Anna ends up confessing her marriage problems to a financial adviser named William Faber. Touched by her distress, somewhat excited as well, Faber does not have the courage to tell her that he is not a psychiatrist. From appointment to appointment, a strange ritual is created between them. William is moved by the young woman and fascinated to hear the secrets that no man ever heard... Written by Aline

Plot Summary | Add Synopsis

Taglines:

She confused him for a therapist and told him her deepest secrets. Now, two people who never should have met are discovering there's nothing more seductive than the truth.


Motion Picture Rating (MPAA)

Rated R for sexual dialogue | See all certifications »

Parents Guide:

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Details

Official Sites:

Paramount Classics

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Language:

Release Date:

3 September 2004 (USA)  »

Also Known As:

Bliscy nieznajomi  »

Filming Locations:


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Box Office

Opening Weekend:

$1,623,237 (France), 27 February 2004

Opening Weekend USA:

$55,836, 1 August 2004, Limited Release

Gross USA:

$2,106,677, 21 November 2004
See more on IMDbPro »

Company Credits

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Technical Specs

Sound Mix:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Connections

References The Hairdresser's Husband (1990) See more »

Soundtracks

In The Midnight Hour
Written by Wilson Pickett and Steve Cropper
Performed by Wilson Pickett
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User Reviews

A case of mistaken identity crisis
3 October 2004 | by See all my reviews

The gimmick in "Intimate Strangers" is that a young woman, Anna Delambre (Sandrine Bonnaire), mistakenly enters the office of a tax consultant, William Faber (Fabrice Luchini), instead of a psychoanalyst, and tells him her most intimate secrets. The question then arises: Did she make an honest mistake, or is the whole thing a setup? Which of the two is the doctor, and which is the patient? Is she telling the truth, or is she a pathological liar? And why does he maintain the illusion instead of calling her bluff?

"Intimate Strangers" works well as a psychological thriller, an elaborate cat-and-mouse game. But it is also a meditation on loneliness and the lengths to which we are willing to go to overcome it ... or not. In other words, do we allow ourselves to be intimate with each other, or do we remain strangers walled in our fortresses of solitude?

Fabrice Luchini's character epitomizes the latter type of person. He leads a solitary and uneventful life, is obsessive-compulsively neat (he uses shoe trees, for heaven's sake), is unable to keep his on-and-off girlfriend happy, and voyeuristically observes the quiet joys and turbulent passions of his neighbors across the way. (Shades of "Rear Window".) Other minor characters exhibit similar tics: his secretary admits to watching rubbish on television while gorging herself on potato chips, and the doorkeeper of the office building spends all her time watching an idiotic soap opera.

Sandrine Bonnaire is, as always, a lovely, delicate vision. She succeeds in conveying the mystery and intrigue of her character, and yet makes Anna wholly believable.

Unfortunately, Fabrice Luchini does not lend the same degree of realism and reality to William. He is too stereotypically anal-retentive and full of hangups, and we never see William as more than two-dimensional. He remains basically the same, unchanged, even by the closing credits. In short, we never get to know him intimately. He begins and ends the film as simply strange.


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