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What if one of Harvey Weinstein's victims, unable to fend off her attacker, just shot him through the head? Would that count as self-defence? And how would the court case about this crime look like?

This is one way of interpreting 'Mon Crime', the delightful new film by François Ozon. The similarities are too obvious to ignore. It's about a young, attractive actress visiting a powerful film producer in order to get a part in a new film. But during the interview, the producer turns out to be a sexual predator. She admits to having killed him with his own gun. During the court case, she uses all her acting abilities to convince the jury of her innocence.

The funny thing is, this is not a serious analysis of power and gender, but a screwball comedy set in 1930's Paris. It's hilarious, it's stylish, and it's full of razor sharp references to the present. Ozon captures the 1930's style of film making perfectly, including the exaggerated acting, the witty dialogues, and the continuous plot twists, one even more improbable than the other.

It's clear that Ozon had lots of fun making this movie. He inserted small films-within-the film (in silent-movie style), he used marvellous 30s locations (I recognized the Villa Empain in Brussels), he casted Isabelle Hupert in one of the most memorable parts of the film, and he lets the jokes continue, even during the end credits.

This is not a cutting-edge film which will blow you away. But it's a perfectly made, very entertaining movie which doesn't have any weak moments.

Set in Paris in the 1930s, Madeleine Verdier (Nadia Tereszkiewicz), is a talentless and bankrupt young actress. With a wide assortment of debt collectors lining up at her door, struggling actress Verdier is with her back to the wall. As a result, as if the cruel hardships of poverty weren't enough, the penniless artist now stands accused of murdering one of the city's most famous residents. Madeleine is accused of murdering a powerful and lascivious French producer named Montferrand. A media trial takes place in which she is defended by her roommate, a young lawyer, Pauline Mauléon (Rebecca Marder), without a job. Fame still waits but the truth is about to be discovered. After being acquitted, she begins her new life of fame and success, until the truth comes out.

French director Ozon adapts a forgotten Parisian play from 1934 for this comedy of entanglements, in the purest 'screwball comedy' style of Hollywood's golden age. Ozon starts from the murder of a powerful, unscrupulous producer at the hands of a young actress to create a sarcastic, vindictive and theatrical comedy full of script twists. Interpretations are passable, such as Nadia Tereszkiewicz as Madeleine Verdier, a young actress who's accused of murdering a famous producer, she's a compulsive liar who admits to a killing she didn't commit so her friend, a failed lawyer, finely played by Rebecca Mader, can clear her name and build a reputation for herself. These two young actresses are well accompanied by veteran actors , such as: Fabrice Luchini, Dany Boon, André Dussollier and Isabelle Huppert whose role was based on famous theater actress Sarah Bernhardt. The film pays tribute to Billy Wilder and his first movie: 'Mauvaise graine (Bad seed 1934)' when the two protagonists go to the cinema and Medeleine Verdier is mentioned in the news bulletin, before the projection of a movie, alongside real murderesses - the Papin sisters and Violette Nozière whose character was performed by Isabelle Huppert herself in the classic film 'Violette Noziere' directed by Claude Chabrol. According to director Ozon himself, this 'Mon crime' (2023) is the third part of a trilogy about the condition of women initiated by the film: '8 women' followed by 'Potiche', all of them are usually characterized by sharp satirical wit and a freewheeling view on female sexuality. This 'Mon crime'(2023) is actually a loose rendition of the 1934 play "Mon crime", by Georges Berr and Louis Verneuil, which has already been adapted twice by Hollywood: 'Cross My Heart' (1946) by John Berry with Betty Hutton, Sonny Tufts, Ruth Donnelly, Rhys Williams and 'True confession' (1937) by Wesley Ruggles with Carole Lombard, Fred MacMurray, John Barrymore, Una Merkel, Porter Hall.

The film was professionally directed by Francois Ozon, but turned out to be a bit slow and implausible at times, not definitively engaging the viewer. Ozon is considered to be one of the best French filmmakers. His favorite director is Rainer Werner Fassbinder, that's why he made 'Peter Von Kant'. Ozon considers filmmaking a "parallel world", in which he flees the boring everyday life. Ozon calls actress Romola Garai his muse. Member of the 'Official Competition' jury at the 62nd Berlin International Film Festival in 2012 and he has won several prizes. Ozon is a prolific writer and director who has made all kinds of genres with penchant for drama and comedy, such as: ¨By the Grace of God' , 'Été 85', 'Le Refuge', 'Peter Von Kant', '5x2' , 'Angel', 'Dans la maison', 'Swimming pool' , 'Le temps qui reste', 'Criminal lovers', 'Everything Went Fine', 'Sitcom', among others.

Madeleine Verdier is a struggling actress in 1930s Paris. She is accused of murdering a famous producer and is acquitted with the help of her best friend, a young lawyer. Her newfound fame and success become too much for her to handle, and she eventually spirals out of control.

Set in Paris during a time of great social and political upheaval, The Crime is Mine depicts the city's glamorous nightclubs and seedy underworld with great accuracy. Director François Ozon captures the atmosphere of the time, reflecting the impact of the First World War and the rise of fascism in Europe.

This stylish and witty comedy-drama explores themes of ambition and the dangers of getting what you want. The film's tone is light and humorous for the most part, but it takes a darker turn in the second half as Madeleine's downfall begins.

Nadia Tereszkiewicz delivers an excellent performance as Madeleine, the ambitious and reckless actress, supported by a strong cast, including Isabelle Huppert as Madeleine's best friend and Fabrice Luchini as the charming and manipulative lawyer who defends her in court.

François Ozon is a master of stylish period drama, and he directs The Crime is Mine with a sure hand, creating a visually stunning and emotionally resonant film. The film's score by Philippe Rombi is a perfect match for the visuals and tone, reflecting Madeleine's own dual nature. The cinematography by Manuel Dacosse is also sumptuous and evocative, capturing the beauty and glamour of Paris in the 1930s, as well as the city's darker side.

The film is full of symbolism, such as the recurring image of the red dress that Madeleine wears, representing her ambition and desire to be seen. The production design is impeccable, recreating the world of 1930s Paris in meticulous detail.

The Crime is Mine maintains a brisk pace, with witty and sharp dialogue that is perfectly suited to the characters and the setting. Ozon keeps the audience guessing until the very end, making it a fun and entertaining film with a lot to say about the dangers of ambition and the importance of staying true to oneself.

One minor criticism of the film is that it feels a bit overlong at times, with a few scenes that could have been cut without affecting the story. The ending also feels a bit too neat and tidy for my taste.

I would recommend The Crime is Mine to fans of stylish period dramas and witty comedies. It is a fun and entertaining film that delivers a powerful message about the dangers of ambition.

I've always preferred Francois Ozon when he's in a playful mood and he's certainly in a playful mood here revamping a creaky old play by George Berr and Louis Verneuil that's already been filmed twice before and giving it a bright new glow, dispensing with realism from the start. "Mon Crime" is definitely an old-fashioned comedy-thriller with nary a thrill to be found, silly enough to keep a soppy grin on our faces for most of its running time.

The daft plot has young actress Nadia Tereszkiewicz accused of murdering an over-sexed producer only to be defended in court, in something of a parody of "Roxie Hart", by her roommate and best friend Rebecca Marder and that's just the half of it. It's totally daft and thoroughly delightful with a superb performance from Fabrice Luchini as the investigating judge and if that's not enough there's always Isabelle Huppert as a wildly over-the-top actress insisting on her day in court. Minor Ozon but even minor Ozon can be a real treat.

It is the movie which looks as a theatrical play and finely frame we will see it will become that. There is a lot of humor and beautiful costumes related to that time when it happens and there's no doubt that you will enjoy in it. Everything is stunning and shiny, but culmination arises in the moment when comes Isabelle Huppert in the role of poor silent actress at the end of her career. With her appearance she steals all your attention. Anyway, everyone in it is charming and in a kind of seductive approach and by that it will fill your attention. The creator, François Ozon, of it made adaptation of a Parisian play from 1934 by Georges Berr and Louis Verneuil and he did it very well!!!

Directed by Francois Ozon, it makes you look forward to seeing the film. Does it work? Yes, mostly. The cast is fantastic, down to the smallest part.

A young actress is being promised a part in a play, but she has to indulge the producer's wishes to be his lover. He tries to make advances, but she runs and escapes the mess.

The next day the police arrives at the apartment of the actress, where she is living with her friend, who's a lawyer, and have practiced for one year. The producer havr been killed.

To advance her career the two girls makes a plan, where she confess to his murder, counting on being acquitted, and then she'll have a name and be successful.

But then something unexpected happens, the real murder contacts the girls. She's an actor, out of luck getting parts in films, it's the era of films with sound, it's 1935. She was big in the silent film years, not now. She's demanding 300.000 Francs to keep quiet.

Now, the rest you must see for your self. It's a quite entertaining and fun film. It's not amongst the best, and it wouldn't even have been as good as it is, if Isabelle Huppert, one of the very finest actors in the world, wasn't playing thr real murderess. In fact all the actors do a fine job. Plus, it's always a pleasure to see Andre Dusollier.

I laughed out loud almost in every scene, it's so simple and funny! Just loved it!

The feel is similar to Eight Women, even feels like it is a sort of a sequel, however the setting is different. The storyline turns unexpectedly, it's in a way similar to those absurd theater comedies though it doesn't look so. The acting is superb, grotesque-like style, especially when Isabelle Huppert appears all of a sudden, and then André Dussolier. And of course, under this being pseudo-light and superficial, there's definitely issues raised (and mocked, Ozon style): gender stereotypes, corrupt judicial system, personal values, etc. Enjoyed every minute of it and highly recommend!

I have to say that this is really fast and funny, right from the very beginning. The pretty and splendid girls, Nadia Tereskiewicz and Rebecca Marder are wonderful and his judge Fabrice Luchini just as funny. We know there is a killing but we are not absolutely sure what is going on, but it is amusing and very fast, back and forward all the time. We have the court, just as much fun as that and then we have a breather and we realise that it is half way through. Then it starts again probably even more fast but for me it becomes like a farce and a bit silly BUT at this point we get Isabelle Huppert. She is always excellent and with this one she plays it farcically and she is really good. For me the second half is not really so amazing as the first but certainly just as fast and Huppert is remarkable even awe-inspiring.

"Mon Crime", the new film directed by Francois Ozon is the stereotype of the bad french comedies. In fact, the film wants to be funny and provocative but it's just boring and not funny for people sub 70 years old. Actually, the actors are poor, for most of them without special talent and a shell of themself. However there is a little bit of idea behind the plot development, even if plot twist are not as good as they pretend and the audience in my cinema didn't react to the terribles punchlines to the modern society, especially for themes like feminism. Just boring and not funny at all. Tomorrow I will already have forgot this inept work like 90% of the french cinema.

A character piece from well-known and much loved French cast, with witty scripting and well crafted twists.

Charmingly shot and well edited, the costumes and make-up reflect the period. The individual players are well matched and clearly defined, very much within the scope of French culture. One aspect that this film scores highly on is that it is not too long - unlike many Hollywood films which are overpadded with repetitious effects.

Cinema is a medium that targets particular audiences and this film hits the bull's eye. If you instantly forget 90% of a particular genre, then don't watch it. If you don't watch it, don't comment...

It's quite hard to précis this without giving the game away, but suffice to say that when a film producer is found with an hole in his head, the police conclude that aspiring actress "Madeleine" (Nadia Tereszkiewicz) is the prime suspect after rejecting his casting couch advances. The investigating judge "Rabusset" (Fabrice Luchini) isn't the sharpest tool in the box, nor is he really bothered about the voracity of any verdict, so long as it goes in the solved drawer. Luckily for our defendant, she is best pals with lawyer "Pauline" (Rebecca Marder) who constructs a defence steeped in theatrical delivery that she feels certain will promote the concept of self-defence and see her client walk free. Risky? Well just wait til the second part and the emergence of silent film star "Odette" (Isabelle Huppert doing her best Cleo Laine or Eileen Brennan impersonation) who threatens to inject just a little truth into this semi-farcical scenario and upset just about everyone's apple-cart. Whilst all these courtroom shenanigans are on-going, well-to-do boyfriend "André" (Édouard Sulpice) has come up with a plan to marry well but keep "Madeleine" as his mistress. Hmmm - not quite sure she's really up for that, but as the threads of the storylines start to knit together we are left with a plot that is anything but predicable. The ending isn't the best, it does sort of run out of steam a bit, but for the most part this is a quirkily enjoyable, well-acted, drama that pops a little at the judicial process and showbiz in a fashion that hits more than it misses. It's got a lovely period look to it, the score is suitably mischievous throughout and it proved to be a mystery worth a watch.

Was this made by AI? The script was banal. The jokes insipid.

I realized after about 20 minutes in that I couldn't care less about any of these characters - who were really dull, dim-witted caricatures.

It reminded of a high school play.

It had no energy, no originality whatsoever.

Don't waste your time on this supposedly comedy melodrama about actresses in Paris in the 1930s.

Was it suppose to be a costume drama, a comedy, a who done it ...? It constantly used tropes that have been used in other movies. It was sterile nonsense.

Why do I have to keep writing to meet the minimum word count to make a review for this stupid movie?

With the BERLINALE 2002 classic 8 WOMEN, Francois OZON has already proven that excellent films can be made from tabloid pieces.

In Paris in the 1930s, two friends live in unsuccessfulness and abject poverty. One is an untalented actress (Nadia TERESZKIEWICZ), the other an unemployed lawyer (Rebecca MARDER). One day the actress is mistakenly suspected of having murdered an influential producer. Although she is innocent, she admits to the murder and is brought to justice. Represented by her friend, she achieved an acquittal. A triumph for both women! From now on there will be a hail of offers and mandates for both. But then the sophisticated Odette Chaumette (great as always: GOLDEN GLOBE winner and ACADEMY AWARD nominee Isabelle HUPPERT) appears: a faded silent film star who has not mastered the transition to sound films...

This charming morality play is based on a play by Georges BERR and Louis VERNEUIL. In 1937, Hollywood had already become aware of the clever material: TRUE CONFESSION (1937) with Carole LOMBARD and Fred MacMURRAY!

Established vedettes (film stars in French) like Fabrice LUCHINI, Dany BOON and Andre DUSSOLIER, but also young stars like Edouard SULPICE and Felix LEFEBVRE shine in the OZON version. In France, the film has already attracted more than a million visitors to the cinemas.

Once again a convincing piece of cinematic fun from France!

The film adaptation of this theatrical play was difficult. The cast is excellent, the music is beautiful, the references to cinema of the past are relevant, but the film fails to capture interest. The whole thing is too polished. We perceive too much the "recipe" for success that Ozon seems to want to put in place, as if he were bringing together all the elements necessary for success, but without a binder to make it something that holds together well. It's neither bad nor good. I wouldn't be surprised if this film's destiny is to become the kind of thing that is broadcast, on TV, in the afternoon or late at night.

Or is she? Well no pun intended - but charges apparently are ... more or less. And the movie does begin with a bang - the question is, what F. Ozon is planning or trying to tell us ... maybe trying to irriate us ... we know that the beginning is important ... will we ever find out how much though? Well you have to watch the movie to know ... maybe.

That all said, the movie has a special kind of humor. You have to dig it - otherwise I can see you being annoyed by it. Yes there is a bit of overacting, yes there are things that would never happen in reality (hopefully) - also this is quite fixed on female characters. If you think it is unfair ... well try to understand there is a different viewpoint ... and maybe empathize ... so either be entertained by the movie or even read a message into it. At the beginning of the end credits there is also a "where/what are they now" ... with newspaper clippings/articles.