The Apartment

This is a fabulous film.

The plot is a good yarn, and is imaginatively told in a series of flashbacks and alternative points of view. What was deliberate, and what was coincidence? Who is in love with who?

You get the chance to put yourselves in the shoes of each of the characters in turn (sometimes literally), and this helps define each character to a satisfying depth.

With a bit of effort following the twists and turns, you can understand each of the characters; and key events in the film are reshot from the point of view of different people.

Take the opportunity if it comes again to your arthouse cinema; it looks good on the big screen.

More than keeping you guessing, the plot twists to such an extent that you just sit and watch what unfolds - I defy anyone to predict!

But more likely you will need more than one viewing - I saw this at the pictures on its original release three times, and it got better each time.

The acting was very good, with a standout performance by Romane Bohringer as Alice torn in three directions by the three other characters in the ensemble.

A classic. The second-best film of the 1990s.

A wonderful story about the consequences of obsessive love with the beautiful romantic back streets of Paris as its location. We're transported through time and see the plot develop from the perspectives of the three main characters as the mystery unwinds.

I saw this movie in Korea back in 1999, and it lingered in my mind for a while after viewing. It was also my introduction to the hauntingly beautiful Monica Bellucci (HER face could launch a thousand ships).

The twists and turns and bizarre ending makes this a must see. I hope they release an uncut DVD version as I own the Korean release that had three minutes cut out.

Highly recommended and a film you can see more than once!

Stylish, erotic and complex, Gilles Mimouni's only film to date appears at first sight to be quintessentially French, but has links to American identity-themed, noirish thrillers, such as Preminger's Laura and Hitchcock's Vertigo. (I'm also not so sure as other postings that all the locations and interiors are actually Parisian; the credits indicate that a lot of the movie was made in Spain.)

Max (Vincent Cassel) is a successful, young executive, engaged to be married, who catches a fleeting glimpse of an ex-lover, Lisa (Monica Bellucci), and immediately drops plans to travel to Tokyo, in order to find her. But, instead, he finds another woman (Romane Bohringer), bearing a resemblance to Lisa, with whom he starts an affair, while still hoping to find Lisa.

The story is told in an extremely fragmented manner, jumping backwards and forwards in time, with hair-style, clothing and sometimes weather providing clues to the sequence of events. By the end of the film almost every i has been dotted, and t crossed, so that theoretically it should be possible to re-edit the movie so that it is linear. But as well as being a duller movie, this would lose what I see as one of its main themes - that memories, fuelled by imagination, can be more powerful than mundane reality. Another theme seems to be that not everybody gets what they deserve, and life can be cruel. Generally, I see the film as being bleaker and more amoral than do some IMDb postings.

The acting, camerawork, sets, music and, of course, the editing are all first rate. This is a perfect film to rent, so that baffling bits (or all) of it can be replayed.

A very confusing film with nods to Hitchcock, some very good photography and little else. The plot involves the Hitchcock staples of obsession and paranoia but lacks the ultimate touch of the master - suspense. I was told that this film was a 'must see' and how great it was and how wonderful the structure was and how engaging it all was. Well, do not waste the time because this film is a pretentious, overlong piece of French 'style' - lots of visual cleverness and moody pouting (called great acting when it is in a French film) but little substance. At the end you could not care less what happens to these self-obsessed characters and I must have had a bad day because I could not follow a lot of this. The film uses a fragmented narrative by presenting the sequences in flashback and in no particular order. We are shown scenes several times and with new perspectives each time so we can try to make sense of the story, if one can call it that. I had to resort to looking at the characters' hair in order to figure out when things were happening. There was also a great deal of symbolism - red rose, white rose, red walls, white shirts, long hair, short hair, red shoes and on and on and on until I yelled enough! The symbols, of course, go nowhere and are presented in sledgehammer fashion so that we can marvel at how clever it all is even though it makes no sense. This is "Single White Female" meets French pretension made by a director who has studied too many Hitchcock films but failed the exam.