Mi crimen

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.

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.

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!!!

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.