gridoon2018 Catherine Frot and Sandrine Bonnaire are two of the finest French actresses of their respective generations (as a - necessary - sidenote: Frot is in GREAT shape for a woman in her 50s!), and their duel here (literally, in one scene: there is a short fight scene between them) is something worth catching. The film begins with a strong sense of mystery, as the viewer tries to understand the reason behind Frot's obsession with Bonnaire's daughter, but when that reason is revealed, the picture stalls, and the main twist is telegraphed at least 10 minutes before it occurs. It's an elegant and sophisticated film, more of a drama than the thriller its trailer tries to present it as, but too slow for either genre. **1/2 out of 4.

thecatcanwait This is a film where it really is best to know nothing about it beforehand. Don't watch the trailer. Don't read any reviews. (Don't even read this review!) Elsa is going through a sticky divorce. Works as an assistant in a pharmacy. Appears rational, has poise, is a seemingly normal – if depressive – middle-aged suburban mother.But then she spots little girl Lola at a birthday party. Can't take her eyes off her. Has to know about her. Has to get near her somehow. She's obsessed with the girl. As if she's seen a ghost.Is this girl Elsa's dead daughter Lucie reincarnated? (I'm wondering) Hope not. Don't want this film to turn into a supernatural freak out.Is little Lola gonna get pinched? Or her mother bumped off? Hope not. Don't want everything going bananas into psycho slasher melodrama either – Elsa going all crazy bonkers. Keep this restrained Mr Nebou (director), keep it all contained within the realms of plausibility.He does. Even though there's a scene where the 2 nice mothers have a bit of a ding dong (its a good fight too. By "good" i mean some serious hair pulling going on) No knifes come out though.The film sustains suspense throughout, engrossing you (me) with a thrillerish edge of tense dread right to the end.Turns out to be based on a true story. Really? Yep, it can/does happen. This film convinced me.

jotix100 Elsa, a woman grieving for her dead daughter, knows what it must feel when she suddenly realizes she might be living a lie. For all practical purposes, Lucy, her infant daughter, has been dead, and buried. Elsa's estranged husband wants to put the matter to rest and so are her parents. Now living alone with Thomas, her son, she suddenly becomes aware that his school mate, Jeremy, holds the key to solve her great pain in mourning for Lucy.We are asked to follow Elsa, as she tails Claire, the mother of Jeremy, who also has a young daughter, Lola, in whom she discovers a great resemblance of her beloved Lucy. Elsa must gain entrance to Claire's home, which is being sold as the family is moving to Montreal. Elsa appears to be a loose canon in the way she acts, getting as close to the little girl, as she can.The film, directed by Safy Nebbou, which she co-wrote with Cyril Gomez-Mathieu, asks the viewer to look at what it is being shown from the perspective of what appears to be a deranged woman who cannot find solace in the great loss she experienced. That is why, when the action turns in an unexpected and surprising way, we are completely taken aback because in our minds we have been led to view the situation from Claire's side.Catherine Frot keeps amazing with each new appearance. Her Elsa shows a woman at an almost breaking point. Ms. Frot is a welcome presence in anything she plays. In the film she is equally matched by one of the most interesting actresses from France, Sandrine Bonnaire. To her credit, Ms. Bonnaire brings an intensity to all her roles, something that she builds in a performance that is nuanced without gimmick. Wladimir Yordanoff plays Claire's husband. The great Michel Aumont is seen as Elsa's father.This is the first film by M. Nebbou, who according to the IDMb credits has worked in shorts before. The director shows talent and good instincts in the way he gets the audience involved in a film that was based on a real story.

writers_reign This has several things in common with Ruiz' Comedy de l'Innocence: in both a mother has lost a young child several years before the start of the film, in both the mother forms an attachment to a child with parents of its own and in both there are implausibilities which are, to some extent, compensated for by outstanding acting. As the two previous posters have already revealed the plot I need only reiterate the SPOILER warning before discussing the flaws. We meet Catherine Frot in the midst of a divorce and sharing custody of her son, Thomas, with her estranged husband. At a children's party she appears drawn to a girl of perhaps seven or eight and determines to find out all she can about her. Turns out that Lola is the daughter of Sandrine Bonnaire and has a brother, Jeremie, the same age as Thomas who Frot uses as a lever to insinuate herself into the Bonnaire household. After an early meeting Bonnaire remarks to her husband what a nice woman Frot is. Frot becomes convinced that Lola is the daughter who burned to death in a hospital fire seven years ago and confides as much in her parents. She confronts Bonnaire and offers to pay for a DNA test. Bonnaire naturally thinks she is crazy but when Bonnaire's husband says a DNA test will clearly resolve the matter Bonnaire admits to Frot that Lola is indeed her child. Bonnaire was at the hospital, saw Frot out cold and assumed she was dead. She then exchanged her own dead infant with Frot's. Flaw #1. How could Frot detect that a seven year old girl was the child she last saw at FIVE DAYS OLD. How come Bonnaire NEVER RECOGNISED Frot when she later admits thinking she saw her dead. Apart from this Frot is outstanding and Bonnaire only a whisker behind.