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Wednesday, June 14 - Tuesday, June 27

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Shades of Patricia Highsmith and Claude Chabrol infuse this revenge thriller, set on the picturesque French/Swiss border, starring two of France’s most celebrated actresses. Diane (Emmanuelle Devos, READ MY LIPS) is obsessed with finding the owner of the mocha-colored Mercedes she believes killed her son in a hit-and-run. Tracking the car to Évian, on the shores of Lake Geneva, she meets beautician Marlene (Nathalie Baye, TELL NO ONE), who has put the car up for sale. Diane poses as a prospective buyer. Surprises await them both. Director Mermoud, who helmed episodes of the cult French series The Returned, brings a slow-burning tension to this “classy and classical psychological thriller” (Boyd van Hoeij, The Hollywood Reporter). Based on the bestselling novel by Tatiana de Rosnay, author of “Sarah’s Key.”



“A captivating and seductive thriller… at times reminiscent of the work of Hitchcock and Polanski.”
– Cineuropa

“A mournful, slow-burning psychological thriller. Should appeal to an audience seeking moral complexity in their thrillers. There is evident intelligence in Mermoud’s direction...there is also a striking use of color throughout… and good use made of contrast between the lead actresses. Fascinating in the way it explores the inner lives of these two women.”
– Allan Hunter, Screen Daily

“Following a terrifically tight, wordless opening sequence… the reliably interesting Emmanuelle Devos brings complexity to this sleek, Chabrol-like story of a mother’s revenge mission. The film largely forges its more Hitchcockian properties for febrile, intuitive character study, beautifully served by Devos’ witty, coolly disciplined performance. An elegantly lean, low-temperature thriller.”
– Guy Lodge, Variety

“A classy and classical psychological thriller. A woman in mourning can be more dangerous and more persistent than a wounded animal and Mermoud and Devos beautifully uncover the dark side of Diane’s character… Reminiscent of the works of Chabrol, Hitchcock and Highsmith, the film doesn’t reinvent the genre but knows how to use its codes to its advantage.”
– Boyd Van Hoeij, The Hollywood Reporter