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MOKA Select Press

MOKA Select Press

“Critic’s Pick. First-rate. Two of French cinema’s finest actors, Ms. Devos and Ms. Baye, both of whom do career-high work here.”
– Glenn Kenny, The New York Times

“This cool, precise psychological thriller… is a neat package, pleasingly spare in its dialogue. Devos...remains the most dangerous woman in French cinema: someone who projects a sensuousness that is still startling in middle age… combined with a visible intelligence so smoldering that it could get her charged with arson. American pictures have no equivalent.” – Stuart Klawans, The Nation

“Diane’s is a quiet, lucid derangement, vivified by Devos’s arsenal of infinitesimal gestures and physical responses; few performers share her skill at inhabiting long stretches of silence so absorbingly… (Scenes with) Nathalie Baye (who) began her career more than forty years ago in films by Truffaut, Godard, and Maurice Pialat evince a fascinatingly protean chemistry, a slightly flirtatious vibe.”
– Melissa Anderson, Village Voice

“A captivating and seductive thriller… at times reminiscent of the work of Hitchcock and Polanski.”
– Cineuropa

“A mournful, slow-burning psychological thriller. Should appeal to an audience seeking moral complexity in their thrillers. There is evident intelligence in Mermoud’s direction...there is also a striking use of color throughout… and good use made of contrast between the lead actresses. Fascinating in the way it explores the inner lives of these two women.”
– Allan Hunter, Screen Daily

“Following a terrifically tight, wordless opening sequence… the reliably interesting Emmanuelle Devos brings complexity to this sleek, Chabrol-like story of a mother’s revenge mission. The film largely forges its more Hitchcockian properties for febrile, intuitive character study, beautifully served by Devos’ witty, coolly disciplined performance. An elegantly lean, low-temperature thriller.”
– Guy Lodge, Variety

“A classy and classical psychological thriller. A woman in mourning can be more dangerous and more persistent than a wounded animal and Mermoud and Devos beautifully uncover the dark side of Diane’s character… Reminiscent of the works of Chabrol, Hitchcock and Highsmith, the film doesn’t reinvent the genre but knows how to use its codes to its advantage.”
– Boyd Van Hoeij, The Hollywood Reporter