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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.

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.

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.

Greetings again from the darkness. It's best not to pre-judge what to expect in a new Paul Verhoeven directed film. We haven't seen or heard much from him in the past decade (the underrated Black Book, 2006), but we know surprises and twists and entertainment will be part of his work given his track record of Robocop, Total Recall, Basic Instinct, and Showgirls. Factor in that he is now working with one of the best actresses on the planet in Isabelle Huppert, and we walk into the theatre with no assumptions but a high level of anticipation.

The phrase 'tour de force' is no exaggeration for Ms. Huppert's performance here. No time is provided for settling into one's seat as the opening scene stuns us with a brutal sexual attack by a masked intruder. Afterwards, the bloodied victim calmly cleans the house, soaks in a tub and orders takeout. This is our introduction to Michele (Huppert) and begins our two hour mission of trying to figure her out.

Is she the ultimate feminist? She is the co-owner (with her best friend Anna) of a video game company that specializes in highly stylized and violent fantasy games (no subtle irony in that). Is she demented? She fools around with the husbands of her best friend and neighbor. Is she simply off-center? She scolds her mother for wanting to marry a much younger man, and her son for living with his selfish girlfriend who has a new baby via another man. She is not a good friend, business partner, mother, daughter, wife or person. This is no sympathetic character, yet thanks to Ms. Huppert, we simply can't take our eyes off of her or stop wondering how she will handle the next situation (of which there are many).

Based on the novel "Oh …" by Phillipe Dijan, with a screenplay from David Birke (who has a similar theme in much of his work), the film spares us little from the daily life of Michele. We see her as a confident business person, a sexual being – whether peering through binoculars at a neighbor or trysting with a married man - and a somewhat devious and devilish person intent on revenge. It's not until later in the film that we learn the family history that has been the driving force behind her rebuilding her life while also being unable to escape the past.

Ms. Huppert is in most if not every scene. It's a powerful and rare performance that is complemented by some fine supporting actors: Anne Consigny as Anna (Michele's friend and business partner), Christian Berkel as Robert (Anna's husband and Michele's play toy), Charles Berling as Richard (Michele's ex-husband), Judith Magre as Michele's mom, Laurent Lafitte as Patrick (the neighbor), and Jonas Bloquet as Vincent (the dim bulb son). Michele has interactions with each of these characters … none better than the Christmas dinner party where all are in attendance.

Verhoeven's film can be viewed as a slightly sleazy guilty pleasure, or as a profile of a strong, independent woman with a flawed moral compass. It's a reminder that we never fully escape the shadow cast by our parents, and some pay a greater price than others. It's rumored that no major American actress would take on the role, which in the end, benefits the film greatly … no other actress could have provided what was needed (except perhaps Barbara Stanwyck, who died more than 25 years ago). Ms. Huppert's performance allows this to cross many genres, and it is undoubtedly the best of the year in this category: a comically mean rape-revenge psychological thriller centered on consent and desire. Should you doubt this, perhaps Michele's own words will convince: "Shame isn't a strong enough emotion to stop us from doing anything at all." It's a pleasure to meet you ma'am.

Paul Verhoeven got famous with Robocop and other action-packed sci-fi films. A while ago I watched a couple of his early films which were completely different in style; dramas with a lot to do with sexuality. Now I got to see one of his newer ones. In some way "Elle" goes back towards his roots of love/sex themed drama, but it also more mature compared to his wild youthful early films.

From what I had read I expected a "revenge flick" but that wasn't entirely the case. There is some of that thematic but more than that it's a drama with complicated relations between the characters. To be honest, I didn't entirely understand all of their motivations but I still liked the way it made me ask questions and think about psychology.

Isabelle Huppert is the lead actress and she literally leads the show. She acts very good, and the character she plays is interesting and surprising, and you never really know what she's up to. There is a theme of not agreeing to be seen a victim, and that is pretty much what the main character is about. She can be seen as an empowerment figure, though I also had a feeling that the character had some minor screw loose too. Anyway, however you interpret things the movie probably makes you think things in some new ways too. That's always a good thing that makes movies stand out.

Ps. The hatchet in still images did not have that much use. So if you are looking for a violent action film, then it's probably not going to be this one.

"Elle" means "She" - the whole movie is seen through the eyes of the character played by Isabelle Huppert, a woman being victim of an aggression in the first scene of the film.

From there you will probably be unable to predict the plot, as its structure doesn't follow the rules we've been used to. At one point during the screening I thought the movie would end soon but it went on and was still engaging. At first you might think it's just a thriller but the writing has more to offer and deploys in original ways.

Isabelle Huppert delivers a great performance playing a strong female character, something quite rare in movies.

The film can be quite shocking, but never gratuitous. Verhoeven's ability to balance a serious drama with his usual "funny" ways is thought provoking without being ponderous. This dynamic was always Verhoeven's strength, even in this kind of more "auteurish" work.

Don't await slick Hollywood style here, but a somewhat dark & gritty satire on human relationships.

Loved it, can't wait for Verhoeven's take on Jesus

Seen at the Viennale 2016: As usual, a perfect performance by the great actress Huppert. She might be the main reason for people flocking to this (rather unnecessary) movie anyway. I guess, also Verhoeven and Birke could trust upon Huppert, that somehow she will rescue the overloaded plot. And yes, she did. Good enough, that it is entertaining enough to watch her. Apart from Huppert's acting I liked how sexual lust was shown. There was a kind of truthfulness in it that is missing in 99% of all other love movies. Sexual interest needs common sexual fantasies. A fact that is neglected by pure romantic love movies too often.

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.

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

Paul Verhoeven has always worn the mantle of provocateur with pride, from the alluringly pulp "Basic Instinct" to the scandalous stripper saga that was "Showgirls." Even when he dips his toe in genre fare, there's still nevertheless an undercurrent of erotic satire in them (remember the tri-boobed woman in "Total Recall"?). Even when Verhoeven plays it straight, like in the brilliant "Black Book", his films nevertheless drip with sensuality. His latest film, however, takes a more measured but by no means less lacerating tack.

At first glance, "Elle" is so cold-blooded it could almost be mistaken for a Michael Haneke film, especially as it features Haneke's muse, the glacially poised Isabelle Huppert, at its center. Certainly, "Elle" kicks right off in a suitably brutal manner one would typically see from Haneke: namely, the savage rape of its primary character in her own home by a masked intruder. Shades of "Funny Games" certainly are evident here, but Verhoeven nevertheless keeps his own brand of reptilian energy alive in the film. Huppert's Michèle immediately gets back into her daily routine: overseeing the newest release from her video-game company, dealing with the drama of her son's upcoming fatherhood with a girl Michèle cannot stand, and seeing her mother tentatively flirting with a new marriage while her father, a convicted murderer, languishes in prison. With everything on Michèle's plate, a little sexual assault is merely seasoning.

The shocking opening scene will certainly have audiences squirming, and indeed Verhoeven revisits it a couple of times throughout the film as Michèle mulls over the event, with variations here and there as she imagines how she could have defended herself—or provoked him further. And despite her desire to move on from the event, it continues to linger, especially as her assailant sends her threatening texts that he may not be done with her. But rather than go to the police, Michèle finds herself almost being an encouraging presence to her assailant, as though she craves the demeaning, degrading act to which she was subjected.

It is certainly a problematic viewpoint for any film to have: that of a rape victim desiring to return to the act itself. But Verhoeven's lurid sensibility strangely doesn't hit the exploitative level that he typically sets out to achieve. While the story does juggle its fair share of melodramatic subplots (swapping out an affair for a cuckolding here while touching on a dark childhood there), it mostly focuses on playing up the stalker cat-and- mouse theme. Michèle goes the "Brave One" route at first: buying (and using) mace, going to a gun range. But as all of her life's little foibles start to coalesce all at once, it's almost as though she seeks the grim simplicity of simply being a "victim."

I've always found Huppert to be a technically masterful but nevertheless somewhat clinical actress, one whose austerity can sometimes keep us at arm's length when she should instead be drawing us closer, deeper. I find that can be a bit of a detriment to some of her performances, but "Elle" relies on that puritanical presence, and her ascetic approach to her portrayal of Michèle is largely what makes the film work in the first place. She navigates the hectic labyrinth of her life like a ship cutting through thick fog, and even as Verhoeven puts his thumb on the tongue-in-cheek scales, she never once feels like she's in on the joke. Though Huppert was not Verhoeven's first choice (he shopped the script to the likes of Marion Cotillard and Carice van Houten beforehand), she nevertheless feels like the right one. Her flinty nature provides the dour center the film requires.

"Elle" does feel a bit bloated in his second half, and I honestly could've done with most of its tangential subplots being axed. Verhoeven's films generally outstay their welcome in terms of runtime, and Ellecomes dangerously close to that, but Huppert's compelling performance and Verhoeven's approach to the material will keep audiences in their seats, albeit forever squirming.

I did not realise that this was directed by Paul Verhoeven until I had winced my way through it hoping there would be some interesting twist on the psycho-papa storyline.... But no. Yet again Mr Verhoeven goes down the Ladies love rape road, especially powerful ladies. And in the capable Ms Huppert who is a serious French actress don't you know, means you have someone who is willing to perform all kinds of self debasement for the amusement of her director and us! When I got to the end I just sat there thinking "WTF was that all about?" Paul, I believe Rocco Seffredi has stepped down from the rough porn genre so there is an opening for you there. Why not just cut to the chase?

Paul Verhoeven has a track record that would not immediately make you think he could make a movie that would empower a strong central female character, particularly one where sexual politics (and sexual violence) are key to the narrative.

He's the man behind Showgirls and Basic Instinct and, errr, Diary of a Hooker after all - essentially exploitation movies to a greater or lesser degree.

And it's highly debatable whether Elle succeeds in its goal, if indeed that is it. Because, despite the incredible central performance by Isabelle Huppert (rightfully Oscar nominated) it takes her from rape victim to rape fantasist over the course of its two hours.

Or did I misread it?

The opening brutal rape scene knocks you back on your feet and Huppert, as Elle, a successful career woman, recovers from the ordeal remarkably sanguinely and continues her active lifestyle whilst setting out on a revenge mission of sorts.

But that mission is deeply twisted and her horrendous experience seems a little ironic perhaps when we discover she is the owner of a games design company that produces games with dubious sexual morality.

What's more her father has a deeply unpleasant past, also wrapped in violence in which she was implicated as a child. This only serves to complicate the morality message of the film as a whole.

I found it gratuitous overall. I didn't think Huppert (despite an excellent performance) advanced female rights and I think the whole thing turned out to be verging on tawdry and certainly too ambiguous to make its point effectively.

I have seen this film before, several times before. It is one the most common story lines found in softcore porn and hentai. Which is quite funny when this film is applauded for being so unique and groundbreaking when it has been done so many times before. Only here we have a decent budget, an incredible actress and some average directing, but it speaks volumes about how critics perceive things, they laud films like this with stories that are from films they would ultimately pan. So like everything take the audience score and the critic score add them together, then divide by two and that is roughly the quality of the film.

Dutch director Paul Verhoeven's long-delayed comeback after BLACK BOOK (2006), a vastly engaging Nazi-melodrama made in his motherland, which catapults its heroine Carice van Houten into stardom and to Hollywood as well. And ELLE, is his first French film which debuted earlier in this year's Cannes, headlined by an impeccably charismatic Isabelle Huppert.

Elle refers to Michèle LeBlanc (Huppert), a middle-aged divorcée, who is the head of a video-game company in Paris (an interesting career choice), leads a quite complacent life regardless of some dissonances, like her ex Richard (Berling), with whom she remains an amiable rapport, is dating a new graduate student Hélène (Pons) which raises her eyebrows mixed with a small dosage of jealousy; Josie (Isaaz), the insolent girlfriend of their unambitious son Vincent (Bloquet), is a vitriolic nuisance, now that she is pregnant, they are dependent on Michèle to pay the rent of a new apartment; then her botox-addicted mother Irène (Magre, so sprightly in her age, almost 90), is too smitten with her toy boy Ralph (Lenglet) to be ethical; plus that she is having an affair with Robert (Berkel), the husband of her best friend and colleague Anna (Consigny), just as corny as that.

But a horrific accident will disrupt the status quo, she is raped by a masked intruder in her own apartment, and with her own reason of not reporting the case to the police (a more horrific back story here), she carries on as if nothing happens apart from changing the locks and arming herself with a bottle of pepper spray. But the mysterious rapist doesn't leave her in peace, and she suspects that it is a personal reprisal due to some workplace disagreement, so she bribes a young employer to investigate her suspect. Meanwhile, she is sexually attracted to her neighbor Patrick (Lafitte), an urbane bank broker who lives across the street with his God-fearing wife Rebecca (Efira), Verhoeven and screenwriter David Birke pull no punches to foreground Michèle's sexual urges. An honest take of masturbation with the aid of a pair of binoculars bespeaks the unflinching audacity of the film's stance: we are all libido-driven creatures, even it will subject us to very perilous situations, we still cannot resist the delectable temptation.

After the plot disclosing the identity of the rapist, the guessing game is over but the story veers into a more stimulating concept of why the act repeatedly happens and how far one would go to fully embrace the exploration of one's sexuality (to the extent of sadomasochism and role-playing), on the latter regard, the film is absolutely female-empowering, while the man is basely submitted to his primal desire, it is the woman who dares to challenge the perversity, question the insanity and take the initiative to navigate the course, which cannily imbues the preordained upshot with a tinge of ambiguity (is it a knowing plan of her or an unfortunate happenstance, which makes audience wonder).

The synopsis of the story might sound morbid, but Verhoeven certainly shows his level- headedness to temper it with a comedic bent, mostly owing to Huppert's superb tour-de-force, she is fantastic in her poker-face frivolousness when saddled with the dead-serious matters, and unapologetically affective in the scenes where she is alone in the frame, submerging in her own thoughts and projecting enigmatic gazes, Michèle is a a hard case to crack, so proactive to seize the fate in her own hands, refuses to be sentimental or sympathetic. It goes without saying that Verhoeven has no intention of eliciting compassion or approval from viewers to justify Michèle's erratic behaviour, but admiration of her own unique existence, independent, honest and indestructible. A variegated supporting ensemble adorns and surrounds a sparkling Huppert, notable mentions to Laurent Lafitte, who legitimately balances on a very darker character between deception and candor, delves into the warring battle of a tortured soul and Anne Consigny, who is a refreshing, tendresse-radiating foil contrasting a relentlessly unfathomable Huppert.

Love thy neighbors, but don't go overboard, ELLE is wittily provocative, unconventionally allegoric and intoxicatingly irresistible. Also the film has been selected as French candidate of BEST FOREIGN LANGUAGE PICTURES, so Ms. Huppert is officially in contention for the increasingly chock-a-block Oscar race ahead, the plot deliciously thickens….

I so much want to like Paul Verhoeven films. The promise much in what I want from a film. Good stories told differently, thought provoking plot-lines, interesting characters and, of course, eroticism. Yet, I haven't found any of his films totally convincing. 'Elle' is another that doesn't quite meet it's aims. I think the narrative with multiple plots could have been better told by another director. Isabelle Huppert hold all the stories and the often implausible situations together really well and is outstanding as always but cannot lift the film above average. If not for her lead then the film would have been a 3 or 4 star disaster. Having said that I wonder if the great Miss Huppert is slightly tooold for the role. I think the leading lady is now in her sixties Michele is supposed to be around 50? At times it shows. I wouldn't recommend this film as a must see but would probably recommend it as a dent nights entertainment with good performances and some interesting detail.

Saw this great little comedy of manners, cleverly disguised as a thriller/whodunnit. The first image of the coldly distant, observing cat puts the spectator in the right frame of mind. A very clever script that makes every scene count, peak and slice away. A brilliant mise-en-scene that refuses to heighten the emotions or prettify. Isabelle Huppert absolutely shines, balancing all the minute emotional ticks in every scene, perfectly in control. She leads an ensemble of actors that play the diverse characters/antagonists to perfection. The story is actually all subtext, the main plot only used to connect all the dots and leading us by the nose to the bigger picture. The movie is marvelously playful, refusing to be dramatic, cute or opt for an easy way out. At the same time everything is done with great style and measured, cooked to perfection. Curiously i felt like i was about the only person in the audience who was chuckling along with every scene, maybe my dark sense of humor or feeling the unmistakably Verhoeven tone more acute with every movie of this great director i get to see. What else - a great score by Anne Dudley and Said Ben Said is getting to be my favorite producer !!! And now quite curious to read the source novel.

Honestly im not a Varhoeven fan but RoboCop, Total Recall & Basic Instinct are still the best (if not only) movies that i enjoy What about Elle? I believe that 130 mions to tell the story of a women thats raped and then she looks out for its rapist its ay too long maybe 100 mins is enough (or less) the story for me felt too long at the verge that i had to ask my brother (i was watching it with him) about the time and when he checked and told me "we saw one hour so far" i said "one hour?" like thinking oh damn another hour? Honestly 130 mins i felt them like 240 mins way too pasive and honestly the "harrasment" elements (when the guy stalks her gets in her home blah blah blah send emails messages blah blah blah) were totally not convincing for me i don't know i didn't like the movie i rate it 6 because its Varhoeven nothing more watch it if you want to but i didn't like it much not even to spend a boring rainy Sunday afternoon home alone totally bored day to "Kill time" This movie makes me say that Hollow Man and Starship Trooperrs are real gold imagine that!!!

Great movie and left lasting impression unlike majority of bleak modern movies. I found it unusual. Ending is not clear. My boyfriend and me understood ending differently. I was not sure about watching it and was pleasantly surprised. I loved it! I recommend all my friends to watch it.

Finally was able to watch the final of the Oscar buzz films that I needed to see prior to the ceremony. Just in time too. While the film was dropped from the Best Foreign Film category after gaining traction, Isabelle Huppert can very well walk away with an Oscar for her performance in this film. Its a strong, outstanding performance from her for sure.I thought the film was mostly good and a return to a bit of form for Paul Verhoeven. Despite this, I still the think the film could have been better.

I am going to start with the negatives since they aren't many. The film is quite long and not always focused. The main plot is about a video game company executive named Michele who gets raped in her home. She tries to go about her life as if nothing happened but then finds herself drawn to the rape and the future instances, which really blurs the line between rape, consent, and submission to sexual desire. The film doesn't always stay focused on what it is at heart. Its honestly hard to pinpoint what the film is really about since there's a few points of focus. I felt the film doesn't have many likable characters. And why would it? Its littered with characters who fall into a theme of philandering. I think the film introduces ideas of religion and the psychopathic nature of Elle's father; all of which was unnecessary.

The film is long and clouded by things that didn't exactly meaningfully add to the story. I wasn't really sure what the film was going to be about. That said, there's definitely a strong erotic basis for the film which is Verhoeven at his best. The film flirts with the idea of cheating, rape, and consent throughout. Its a pervasive film but its exactly what you would expect from the filmmaker. People will find this film to be disturbing and at times quite vulgar but it remains alluring and pretty hypnotic. As I stated earlier its a return to form for Verhoeven because he plays to his strengths by tackling a sexually charged film once again.

I know Isabelle Huppert isn't exactly a household name but she should be after this film. Its a magnetic performance. Michele is a bitch at times but very assertive and strong. She explores her sexual desires and boundaries and can handle her life in a very stone faced manner. She has a very complicated past and even mentions she may be a psychopath. Michele is a complex character: honest and at times scathing but its a wonderful portrayal. The film isn't perfect but I think film lovers need to check it out and form their own opinion on this.

7/10