Suzanne is a well married mother, but her bourgeois lifestyle gets her down and she decides to go back to work as a physiotherapist by building an office in their backyard. Then Suzanne falls in love with the man hired to build the office.
An act of revenge takes an unexpected turn in this psychological drama from French writer and director Lola Doillon. Anna (Kristin Scott Thomas) flees a house on the outskirts of Paris and ... See full summary »
Kristin Scott Thomas,
Ruthless executive Christine brings on young Isabelle as her assistant taking delight in toying with her innocence. But when Christine starts passing on her protege's ideas as her own, things take a dark turn.
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Camille is having the time of her life, enjoying all that Pari's decadent nightlife has to offer a young single woman. She parties all night with sexual abandon, then stumbles home at dawn,... See full summary »
There was little chance, in the year 1971, that Carole, a Paris Spanish teacher and feminist militant, would ever meet Delphine, the daughter of a couple of Limousin farmers. But they did ... See full summary »
Cécile de France,
On the one hand you have Judith Zahn, an arrogant, snobbish, bitchy Parisian editor. On the other hand meet Julien Demarsay: an insecure, timid, young bookseller from the East of France who... See full summary »
Suzanne is a well to do married woman and mother in the south of France. Her idle bourgeois lifestyle gets her down and she decides to go back to work as a physiotherapist. Her husband agrees to fix up a consulting room for her in their backyard. When Suzanne and the man hired to do the building meet, the mutual attraction is sudden and violent. Suzanne decides to give up everything and live this all engulfing passion to the fullest.Written by
Kristin Scott Thomas has tended to play hard-ass women who keep their emotions in check, but in LEAVING the ice-princess doesn't just melt, she gives off steam! The sex scenes between Suzanne, the bored Parisian housewife, and her beefy Spanish builder are fairly bracing; it's clearly not his intellect that she's fallen for. Swapping her sterile modern house (irony here: her dull husband's a surgeon) for a seedy suburban apartment doesn't seem to faze her, but drama - indeed, melodrama - is lurking on the horizon. The director gives most of the ending away at the beginning (echoes of Sunset Boulevard), which I thought was a mistake.
Wife takes lover, tragedy ensues: it's a hoary old plot that shouldn't work but it does, thanks entirely to Scott Thomas's incandescent performance. Hopefully, she'll win awards for this.
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