Cast overview, first billed only: | |||
Sebastian Koch | ... | Martin Ehrlichmann | |
Lotte Verbeek | ... | Therese / Angelique Prevert | |
Emilia Fox | ... | Fiona Jones | |
Rebecca Night | ... | Sarah Jones | |
Eoin Macken | ... | Gregory O'Hanlon | |
Lachlan Nieboer | ... | Dominic | |
Frances de la Tour | ... | Nesta Rich-Harrick | |
Julian Sands | ... | DCI Hackett | |
Kenneth Cranham | ... | DCI Bullock | |
Melia Kreiling | ... | Juliette Mekas | |
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Russell Norman | ... | Ross |
Naoko Mori | ... | WPC Floy | |
Gregory Cox | ... | Dominic's Father | |
Mary Roscoe | ... | Dominic's Mother | |
Rachel O'Meara | ... | Coroner |
Martin is a successful writer whose wife suddenly disappeared. During a film shoot fifteen years later, Martin meets Angelique, who disappears the same night. The next day, police find her dead body and a mysterious investigation begins.
15 September 2013 / by Bart (Amsterdam/Holland)
Nothing Personal but so far I find the rating of this film rather low. The cause may be that it requires some effort and a tiny bit of insight from the viewer. On top of that: this is an independent production and it is no straight 'Thriller'. Mike Figgis even provides us with a manual right from the start. Martin (Sebastian Koch) is a socialite screenwriter and teacher who gets intrigued by a beautiful French woman (Lotte Verbeek) gone missing in London. But she's part of an identical twin So here we are right on the spot: 'Suspension of Disbelief'. Although presented as a thriller, the film heavily leans on the insights of Carl Jung. The wary film noir interludes and erotic touches to this film are cleverly shot and edited as they precisely fit this theme (and the sheer beauty of my fellow citizen). The average viewer will find this movie fairly enjoyable, great Leads, good script and pitch perfect music (Jazzy Figgis, Wagner, Radiohead). But no real sex, no fast pace and a strange, confusing end. The lives of others however will be mesmerized by the gradually emerging different realities and the big question mark at the end.