Opiniones de Metacritic

Ozon weaves another spellbinding tale that mingles the real and imaginery with terrific effect.

All the way up to the stunning final shot, Ozon urgently asks whether, for storytellers, it’s better to be on the outside looking in, or the inside looking out.

In the House is a mystery, but it investigates a far tougher riddle than what makes Claude tick—it's trying to figure out why, exactly, voyeurism and mystery delight us so. In the process, it delights us.

Utterly assured, breathtakingly executed and riotously funny, this is a delight.

In the House is crafty and juicy and ought to delight anyone whose ever thumped their chest about being a storyteller. I must confess, however, that somewhere in the third act the air started to leak from the balloon.

There are humorous intrusions (e.g., an art show at Jeanne’s gallery that includes Nazi symbols constructed from penises), and great performances throughout.

It's buoyant and titillates, striking that distinctly Ozonian balance between the beautiful and the sinister, but it doesn't resonate.

A black-comic psychological drama with poise and self-possession. Featuring Fabrice Luchini and Kristin Scott Thomas, how could it have anything else?

Neither Claude nor Ozon comes up with a satisfying finish to this intriguing setup. But because they’re both so committed to seducing their audience, it’s a lot of fun watching them try.

Characters seem less entrapped by their desires than by plot necessities — a fact that’s not redeemed by Ozon’s winking self-awareness.