Elle

Apparently so controversial that several American actors passed up on the opportunity to play the lead part and Paul Verhoeven had to take his long-awaited return (to form at least) out of the US entirely, this subversive pseudo psycho-sexual thriller represents a rather unique take on the tried and tested rape-revenge genre, moving far away from pure exploitation and instead heading into an enthralling exploration of the taboo desires of slightly sociopathic people. There's nothing really conventional about 'Elle (2017)' and that might be what makes it so compelling, with the absolutely phenomenal screenplay brought to life by equally engaging, rivetingly realistic power-house performances, and the fact that each intriguing new layer just feels so natural despite the brazenly bizarre tone and inconsistent pacing is a testament to the rich character development and world building that makes the piece seem so wholly believable. 7/10

Isabelle Huppert migh have signed a pact with the devil. She´s still incredibly sexy at over 60 years old and as unique as always. "Elle" it´s all about her (duh) and no other actress could have possibly made it. A classy production with moments of great tension but I find this to be a character study more than anything else. A woman and her circumstance: her family, her work, her friends and, of course, her sexuality. It might be controversial but it´s not cheap. She´s not an ordinary woman and her father and her mother both have an important role in the film as to know why. Everything else is plausible due to her condition, from her son´s character issues to her affairs and further. Nothing is taken lightly, every situation or decision is determined by her psychology.

Now, I´ve seen how it enrages a lot of people. I guess they´re not familiar with Huppert´s work. There´s, of course, "La pianiste" but I find "Ma mère" to be worse. She´s always had a taste for moral uncertainty and she´s never been afraid of playing with its limits. Verhoeven is similar and this is a clear highlight in his appalling filmography. I wonder what would happen if "The Clockwork Orange", for instance, was made today? I´m not a fan of it but it´s widely regarded as a classic. We shouldn´t forget these are movies, not real life. Violence or pshycopathy are still a part of the human condition, however unpleasant they might be. I´m unfortunately close enough to rape reality to assert my opinion. "Elle" isn´t overly serious and never tries to be more than it is: two entertaining hours of drama.

From the late 1980's into the 1990's, Paul Veerhoven was one of the biggest names working behind the camera in Hollywood. Starting with 1987's Robocop and continuing through Total Recall, Basic Instinct and Starship Troopers, Veerhoven mastered the sex and violence ties that brought audiences out to his films in droves.

But 1995's Showgirls ended his run of good fortune. Considered by most to be one of the worst films of the 90's (it's not), Showgirls all but put Veerhoven in Guantanamo Hollywood prison. And since 2000, Veerhoven has directed but three films – Hollow Man, Black Book and Tricked.

With any fortune, Veerhoven will no longer take such a long sabbatical after his latest effort, Elle which was nominated for the Palme D'Or at Cannes and had its North American Premiere at the Toronto International Film Festival this past Friday.

Elle stars Isabelle Huppert as Michele, a corporate CEO of a small video-game design company who deals with the emotional effects of a rape that occurs before the screen even fades in with the open scene. When audiences do get more than the horrifying audio of the assault, we view Michele as she fights with a masked intruder on the floor of her home. Beaten and raped, Michele cleans up and continues with her life. A prior bad history with the police leaves her not wanting to report the crime and stoically she marches on with the rape but a blip on life's resume.

But as time slowly separates her from the initial attack, it is clear that the attacker is not yet finished with is prey. Michele begins to find her house violated again by the unknown assailant and text messages from the rapist only further the intrigue. But Michele is no victim. She fantasizes about another return visit from the attacker with a more favorable result. And through her emotions she remains consistent in behavior which comes to a shock to others when she reveals the details of the attack.

Making things more complex for Michelle is her circle of family and friends. A father doing time for being a serial murder, a mother who pays young studs for sex, a son who can't hold either a job or a girlfriend and her co-workers, some of which she is sexually active with, only complicate her delicate situation.

Although Elle might seem like a mystery thriller, it is more of a character driven drama than a 'can-you-guess-who's-behind-the-mask'. So much so that Veerhoven reveals the face behind the ski mask early in the second half of the film. The reveal is to both the audience and to Michelle and how she continues to explore events on her own terms is as fascinating as it is head-scratching.

Although Veerhoven has routinely had strong women roles in his films, nothing is on par with Huppert's Michelle. The film is carried by her strong and intoxicating performance and Huppert is remarkably able to keep us involved and rooting for a woman who is mean and calculating to all those associated with her path.

Events don't exactly zig and zag towards an ending but I doubt audiences will be able to stay ahead of the smart script in determining what might occur next to our protagonist.

Elle isn't perfect, but it is perfectly cast and executed. The story will leave most in the cold and it isn't a feel-good film even if everything does eventually work itself into a nicely bowed present before the end title card.

After seeing this film at Cannes, it left me with rather mixed emotions, and I continued thinking about it for quite some time after; so after much thought, I decided it was time to write a review of this new French new flick. 'Elle' is a thought-provoking thriller from the hands of Dutch auteur Paul Verhoeven that is definitely not suitable for the younger audiences. Verhoeven has a tendency to venture down more explicit routes (think of 'Showgirls'), but this time took a psychological approach creating a film that will definitely leave you thinking.

Now, the plot can be rather convoluted. The film runs several plot lines alongside each other and at times, you can lose track of certain characters, but if you pay close enough attention, you'll fully appreciate the complex, yet original structure Verhoeven has created. The performances in the film are all fantastic, and the direction is magnificent (Verhoeven actually took to learning French as a new language so he could utilise an entire French crew), the cinematography and soundtrack both make great accompaniments, but I personally think the film's structure was the only downside to the film.

The subject matter is rather grim, revolving around sexual assault and the estranged relationship between the main character and her parents, but there are instances of humour that just give that little hint of lightheartedness to a relatively dark premise. All-in- all I would definitely recommend this film if you're a fan of dark thrillers along the lines of 'The Girl With the Dragon Tattoo' etc, but be prepared for a no-holds brazen thriller. Nonetheless, Verhoeven has made a sincere thriller that kept me thinking well after the credits had finished, so congratulations to him for that, and for undertaking the somewhat "risky" subject matter.

One can't help but note the decidedly brusque tone and pacing with which this operates, pointedly matching the strident personality of the title character, and the uncomfortable curtness of every social interaction. Between these two facets, the picture sits at a peculiar place of seeming to fly past while it's actually moving quite slowly - I was altogether surprised to look at the digital timer at one point to see that I was only halfway through the runtime. All the while, it's hard to get an exact beat on what 'Elle' is doing. It definitely carries itself in some measure as a psychological drama, or at least a character study, with major thriller airs; Michèle Leblanc is plainly fascinating, and the character writing generally is without question the sharpest aspect of these 130 minutes. The scene writing is ferocious and downright ugly, and the narrative at large is as indescribable as it is compelling. Only: what is it that I should be taking away from the viewing experience, especially in regards to dynamics between men and women? That I surely don't know, but it's safe to say that one way or another I'll be thinking about this for a long time.

I'm not familiar with Philippe Djian's novel, and I can't say I've seen other films that David Birke wrote - excepting 2021's superb 'Benedetta' that he co-wrote with director Paul Verhoeven. Wherever the credit belongs, the screenplay is tremendous: a maelstrom of strong emotions, very complicated characters, and horrid violence (a content warning is obviously extremely necessary for depictions of rape), with additional tidbits including not just those gender dynamics but also how we experience and react to violence at different times or in different ways, parent-child relationships, and more. As to any Big Ideas or themes that Djian, Birke, and/or Verhoeven were hoping to communicate, well, I'll need to turn this over in my head a bit more to discover what's hidden within. Even without such considerations, however, the movie is a stark, vivid ride, roundly absorbing and well worth exploring for the sheer excellence it represents. Beyond the writing, that absolutely includes Verhoeven's direction, steady and reliable as it's always been. For as forceful as the proceedings here are in many ways, he nonetheless demonstrates a dexterous, delicate hand in orchestrating shots and scenes that lets them sink in their claws instead of just landing with blunt impact; I shudder to think how poorly this material may have been treated in the hands of anyone less capable.

Everyone behind the scenes turned in great work, too, including fetching production design, costume design, hair, and makeup, and finely executed stunts and effects that are jarring as they present. Yet it's the folks in front of the camera who might be most readily striking of all. It's certainly noteworthy that star Isabelle Huppert received many nominations and awards for her portrayal of Michèle. Yet even in her case, it's not that any of the acting is singular and revelatory, specifically making a huge impression. Rather, it's more that like the broad tenor of 'Elle,' there's an unmistakably fierce, terse edge to the performances (Huppert's above all, by all means) that does much to harness and maintain the vibrant, harsh energy of the feature, propel the plot, and keep we viewers locked in. And really, all these elements work in tandem to achieve that vivid spark, which surely means Verhoeven deserves commendations once again for maintaining such a tight, dark vision over the whole affair, if not also producers Saïd Ben Saïd and Michel Merkt.

Even setting aside the important content warnings this won't necessarily appeal to everyone, least of all for some of the ideas that it plays with and the dire atmosphere. Even for a filmmaker who gleefully dances across extremities and taboos this is a bit of an oddity for his oeuvre, hard to particularly pin down. One way or another, however, the fact remains that 'Elle' is pretty fantastic all around, benefiting from the substantial skill and intelligence of all involved. Whether you're a diehard fan of someone involved or just looking for something good to watch this is well worth checking out. Be aware of the nature of the content, but otherwise just strap yourself in and watch the fireworks.