L'amour est un crime parfait

At one point in this movie, the protagonist, a creative writing college professor (Matthieu Americ) with a taste for his nubile female students, gives a creative writing exercise where he tells students to write something based, not on character or story, but on a "landscape". That's kind of what this movie itself is. The plot and characters are definitely very serviceable with the professor suspected of being behind the disappearance of a female student he is seen in the carnal company of at the beginning, and neither the viewer or the perhaps the protagonist himself (who is given to severe "headaches") really sure of his guilt. Instead of being the usual married French cad though, the professor lives in an isolated mountain villa in a rather incestuous relationship with his sister (Karen Viard), who might be propping up his career via her sexual relationship with the college dean. Meanwhile, the suspicions swirling around don't stop him from getting sexually involved with the missing girl's alluring stepmother (Maiwenn LeBesco) or being pursued by the hot-to-trot daughter of a big university donor (Sara Forestier), who wants him to give her "private lessons" in, uh, creative writing.

This movie though, despite being basically a TV film, really benefits the most from its great "landscape". It is set in a wintry French alpine village and has great crisp cinematography (I don' know if it's digital, but if so digital has come a LONG way). The natural beauty is well matched by the incredible modern glass architecture of the mountain college where a lot of this takes place. Besides having the most beautiful female students I've ever seen, the professor also teaches in probably the nicest classroom that ANY creative writing professor has ever taught in.

Americ is definitely a talented and charismatic actor, who is very big in French film and has even left France to play James Bond villains. He manages to make his coed-molesting--and possibly murderous--anti-hero genuinely likable. But the OTHER part of the gorgeous "landscape" here frankly is the sumptuous female bodies on display. Sara Forstier is so irresistibly sexy that it beggars belief that the professor even tries. Maiwen LeBesco is also really something. It IS pretty funny though that she seems to be the only French actress I know of to use a "body double" for nude scenes given that her little sister, the equally voluptuous actress Isild LeBesco, only leaves her clothes ON in a movie if it's absolutely necessary to the plot (maybe Isild is her older sister's "body double"?). Although she's more famous (largely as the result of her shotgun teen wedding to director Luc Besson and appearances in a number of his films), I've never personally thought Maiwenn was nearly as talented as her sister, but she's really good here.

I don't want to take anything away from Americ or the very decent (if not always believable) story, but it is the "landscape--of natural scenery, modern architecture, and, yes, female flesh--that real makes this movie.

A more than decent attempt at a thriller mystery. Our main actor might not be the most likable person (far from it), but that doesn't mean we have to hate him. Actually the actor (very well known in France) does a great job showing more than one side on him. And even if you can see where this is going (or what actually happened), this ride is well worth going along with.

It might be a bit too long and the relationships are stretched a bit (though never feel fake or false, no pun intended), but the overall message is delivered. Great photography, with a very slow moving pace, that might not be everyones taste.

L'amour est un crime parfait or Love is the Perfect Crime has two big things going for it. They are in no specific order; the gorgeous alpine locations and interesting post-modern university settings and the first act which intriguingly does manage to hook you into hanging around for the final outcome.

Unfortunately the second and third acts are increasingly filled with so many red herrings and almost unbelievably melodramatic contrivances on the part of the script writers, we know before we get there that the denouement will be unsatisfactory in the extreme. And so it proves to be.

We are never presented with a motive/reason for the first killing/murder, though sleep-walking (LOL!) is suggested. There is no real reason given for the siblings' odd relationship, apart from a mention that "their mother was too hard on them". Wow! I wondered why there was (plainly) an over-emphasis on the protagonist's smoking (to ridiculous lengths) in the film. And it was clearly to set up the climax with a bang. And seriously, if a big time gangster wanted to intimidate/investigate a character, I could never see them going to the theatrical lengths that are presented in this shaggy dog joke of a film.

The big reveal/twist when it appears is just laughable and just adds to the evidence that like a cheap Christmas gift gaudily packaged, Love is the Perfect Crime is all style with little substance.

The movie is so strange that probably even its creators don't know what they wanted to say. There's a lot of snow accompanied by endless tobacco smoking, sexually obsessed girls, sick professor and pointless dialogs. There's no thrill in this thriller, and there's no decent acting. However, the landscape and the urban design are really beautiful, and that's why I added one point. This is a movie that would've been much, much better if nobody filmed it.

A magnificent and intoxicating serial killer film set in the icy landscapes of Switzerland. Everything revolves around Marc, a sensualist and disturbed literature professor. His extremely literary way of expressing himself is undoubtedly impossible to apply in real life, but verisimilitude is not necessary. His intensity is fabulous, especially the way he looks at women, the way he fills his eyes and mind with them. Mathieu Amalric is just fantastic in this role. Note the excellent music of Caravaggio, subtle electronic tracks which embrace the rounded modernity of the university where Marc works. The Larrieu brothers once again excel in maintaining a floating and uncertain spirit in the film, whose main character gradually, almost voluptuously, loses his footing. Wonderful.