newjersian French cinema is famous for its romantic comedies and melodramas. When French movie makers try to change the genre, it's usually resulted in a flop. Secret Defense is an example of that unsuccessful attempt to mimic an American action movie. The creators of that movie really tried to do it cool, but on every turn the movie becomes really laughable. Maybe an audience of school children can believe the plot which is absolutely primitive and false. And the actors... How could the director let Vahina Giocante be so hysterical while playing a role of a trained secret agent? Her eyes are always deceiving her, even in scenes in which there is no need to be worried. She always runs and moves chaotically, and her amateurish performance finally kills the movie, which anyway has a very weak plot. I would recommend watching that movie only on a deserted island while it's raining outside. In other circumstances do something more attractive.

dromasca What is bluntly visible in this French film is the American look. Actually it is not only the look - the whole approach taken by the film starting with its story and I dare say with its ideology, going through the rapid pace and crisp editing style and ending with the style of acting is borrowed from the American 'war on terror' movies. We even have some kind of a French equivalent of the CIA headquarters in this film. The most amazing things is however that the combination works. Philippe Haim is a talented director and his 'Secret Defense' is a good American thriller even if it is acted in French.Recruiting a young and sexy woman who finds herself in some kind of distress and turning her into a spy is a theme that we have already met in the classical Nikita, and original French film turned into an American movie and than successful TV series. The world of Secret Defense is however today's France and Middle East, and a parallel thread develops the background of an abused criminal who falls of dark side of the war on terror. The paths of the two characters are to meet inexorably, and we know it from almost from the beginning. The smart and unfortunately true idea of the script is that both the good girl and the bad guy are victims, paws, foot soldiers in war machines that confront each other and eventually crush everybody who falls under their wheels.The story has logic and the development of the main character played by Vahina Giocante is credible and does not lack an unexpected dose of sensitivity. There is one moment only when the accumulation of coincidences seemed to me to be hard to believe, but otherwise the story line and the excellent acting, the exact rendering of the various environments and the pace of action built upon interleaved threads contribute all to the good quality of a film that has an American look, and this time I am writing this appreciation on its positive meaning.

a_fry Does anyone know if the dog death scene was live (actual) footage of a dog being gassed or was that dog an amazing actor? I cannot find any information on this, and it was suggested in a previous comment that the dog death scene was actual terrorist footage. It would upset me to think that animal cruelty / the portrayal of terrorists performing animal cruelty is something that Canadian film distribution companies find it okay to support even if the film isn't made in Canada. The film centers on a very touchy subject, but that scene is not one I am going to forget easily. I found this just another example of horrific things accomplished by terrorists in the world, and replaying it whether in a film or on television just amplifies the effect they wish to portray to us "infidels".

robert-temple-1 It makes a difference to see it from the French point of view. After all, ten percent of the population of France are now refugees or descendants of refugees from Muslim North Africa. This film is about the French Secret Service, which has initials I can never remember, but you know the one. It portrays them as hyper-efficient, hyper-modern, ruthless and dedicated professionals who will, as Gérard Lanvin the lead actor puts it in the film, be 'patriots' who will 'do anything for my country'. And 'anything' really means, unfortunately, 'anything'. The film portrays in grim, horrifying, and fascinating detail the fantastic entrapments devised to recruit young agents in the fight against Muslim terrorism. The French call the Qaeda fanatics by their alternative name of 'Salafis' rather than 'Wahabbis'. The terrorists are portrayed in 'Damascus' and 'Afghanistan' (both actually filmed in Morocco) with extreme and convincing realism. The film is disturbing in many places, with one homosexual rape scene and several murders. I believe the horrifying footage of the dog in the glass cage who is killed by cyanide gas is a real Qaeda video. The set-ups carried out by the French secret service are so devious that they would make Machiavelli blush. The film does not have the Hollywood approach to violence, which always focuses on childish and adolescent fantasies of things crashing and exploding. Instead, the French, who are a far more sophisticated people, concentrate on what happens to people rather than the havoc wreaked to mere objects. In this, they are more straightforward. If a severed head has to be delivered in a cake box, it is delivered in a mundane ordinary manner, and it does not have to be delivered by a helicopter smashing into a skyscraper. Anyway, there are few skyscrapers in Paris, thank God. (Skyscrapers have no business existing anywhere other than New York and Shanghai.) The attitude towards the agent ('humint' to the Americans) is brazenly unfeeling. As Lanvin says: 'An agent is not a person, he is a tool.' Controllers are not allowed to treat their agents as human beings. The film features an astonishingly versatile performance by the young actress Vahina Giocante, who is tricked into becoming an agent, and who screams at Lanvin when she realizes what he has done to her that he is 'all alone'. He answers with resignation: 'Yes, I know.' The whole story is very bleak, that is, when it stops its restless pace of action long enough to allow anyone a moment to reflect. The film is really a most impressive achievement, exciting, well made, relentlessly entertaining, if you have the stomach for the grisly bits. The director, Philippe Haïm, who also wrote the story, appears from his name to be of North African descent, so perhaps he has a special feel for all of this. He has done a superb job of making a French 'blockbuster'