Love Crime (2010 film)  » Movies  »
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  • Their corporate affairs, both in industrial boardrooms and romantic rendezvous, move in a very fast pace that I thought I was watching a slideshow presentation
  • Isa fastidiously plots out a plan to oust her boss at the cost of her freedom, for a short time, which she carries on convincingly we’re confused at times if she’s faltered from the impossibility of her plan or acting it out


    • by jhunie

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      Love Crime is a French thriller that manages to keep you on the edge of your seat, undeterred to chase along the rapid-fire subtitles at the bottom. A film by Alain Corneau, Love Crime stars Ludivine Sagnier (the chic Parisienne in Love Songs and notably from another Ozon film) and Kristin Scott Thomas who obviously needs no introduction. Simply my familiarity with these actors and a high regard of the French’s artistic sensibilities made me want to see something as rare these days as a French thriller.

      The film introduces us to the relationship of the two important characters, Christine, a corporate predator played by Thomas, and her trusty executive Isabelle, played by Sagnier, who is socially


      detached and mingles with business-like manners . Already in the beginning it’s clear that the film sympathizes with the underdog protagonist, Isabelle, stirring you to her naiveté and isolation. What happens later causes a rift between the two, the boss, Christine, being the bullying slacker stealing Isa’s hard-earned ideas and brilliance. Their corporate affairs, both in industrial boardrooms and romantic rendezvous, move in a very fast pace that I thought I was watching a slideshow presentation. Somehow it happens so fast to make me ask if the corporate witch transgressed far enough to deserve her comeuppance, and that goes for the smart protagonist as well.

      I am a sucker for anything that turns humdrum office ...


      • life into a battlefield, which in Love Crime escalates to a crime, obviously, a bit of scandal and a dark transformation rooted in retaliation that while satisfying is also morally corrupt for this once honest and hardworking yuppie. Isa fastidiously plots out a plan to oust her boss at the cost of her freedom, for a short time, which she carries on convincingly we’re confused at times if she’s faltered from the impossibility of her plan or acting it out.

        The latter half of the film wanders in proceduralism testing the protagonist as well as our faith in her ability to pull it off. The technicalities involved are so simple and yet extremely clever, as the film

        takes on a straightforward technique (in the form of flashbacks) to fill its own plot holes. In the end I wonder in awe and disbelief how one could categorically concede and (duh, spoiler!) get away with it. Everything is precise and calculated, but it’s hard to forget, for us as witnesses, how the angle involving Isa’s crime and her affair with Philippe pans out, if anyone finds out their secret or the latter confesses. They missed that side of the triangle. By all means this French thriller has a singular, chronological style that distinguishes it from the American ones. It’s neither bookish nor troubled by trifling details. Go ahead and watch it.




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