Pediatrician Alexandre Beck (François Cluzet) and his wife Margot (Marie-Josée Croze) are skinny-dipping at the lake late at night. Margot disappears while somebody knocks out Alex. The police considers him prime suspect. Eight years later, two male bodies are found near the lake and the police starts investigating him again. Alex receives mystery e-mails showing Margot alive and out in public. He starts wondering about the body that was presumed to be her years ago that was identified by her father. He tells his sister Anne and her partner Hélène Perkins (Kristin Scott Thomas) and they hire lawyer Elysabeth Feldman. Mysterious thugs kill their friend Charlotte and set him up.It's a good Hitchcockian mystery. It's got intensity like running across the highway. It's nice that none of the main characters are idiots. It's a smartly written complicated case that is slowly revealed. The best of all is that I think it all works. The only drawback is my unfamiliarity with the French legal system. The cops seem to be very pushy and I would think any smart man would ask for a lawyer. It's a great engaging mystery from start to finish.

A fine piece, riveting all the way, to the very last scene. Mesmerizing intrigue assists our journey with a pinch of danger thrown in. Quite unpredictable and admirably so when it truly must be challenging for film makers to be original within a world of millions of stories.The lighting, grade and set textures harmonize with the story perfectly, and the casting is second to none. A fluid guitar based score permeates the psycho-sphere.It is interesting when characters whom play seemingly insignificant roles early on take up greater weight as the plot unfolds in a story. This happens here with due magnitude.If you appreciate thrillers, you will love this.

The music in the opening scene of this French movie should give a strong hint to the viewer about what to expect. It's a soul song which combines oddly with the first shots of an apparently idyllic gathering in the French countryside. What follows is however all but idyllic. It's a complex thriller drama about a murder that happened eight years before, a love story and a disappearance that refuses to heal. One of the most intelligent and most sensitive stories in the genre that I have seen lately.It may come as a surprise that the film is French, but inspired by a novel and a story written by Harlan Coben. The fine author of mystery novels and thrillers had amazingly few encounters with the movies, this being as far as I know his only novel brought to the big screens. The approach taken by director Guillaume Canet places the story in France (of course) but none of the characters belongs to any specific localization. Beyond the love story and beyond the sophisticated detective story that is smartly and consistently built, there is a quality of the making that keeps the interest (both intellectual and emotional) awake for the duration of the more than two hours that the film lasts (another Hollywood influence?).Much of the quality can be attributed to the excellent team of actors, and first among equally good François Cluzet - one of these actors who make you feel their emotions without any apparent effort, just by being himself. The hand of the director is light, he just does professionally his job enjoying the fine team of actors and the intelligent script he has at hands and making us enjoy the story as well. Now I just hope that the studios in Hollywood will not reclaim back this film for an American remake.

Guillaume Canet writes, directs and appears in 'Tell No One' from Harlan Coben's novel, a dizzyingly complex thriller that will keep you guessing right to the end. There is a big cast of characters to keep track of, to the point that confusion will definitely creep in if you are not concentrating, but Canet's excellent film deserves your full attention. François Cluzet is highly watchable as the pawn at the centre of the mind-boggling machinations that spiral around him (French crime drama pun intended), and there is an excellent array of Gallic thesps all in good form. Worthy of particular note are Marie-Josée Croze very engaging as Cluzet's screen wife; André Dussollier as his terminally grumpy father-in-law; Kristin Scott Thomas his sister; a beautifully laconic François Berléand as the dogged cop; and the wonderful Gilles Lellouche with a convincing gangster turn. The film's plot is every bit as labyrinthine as LA Confidential or The Girl with the Dragon Tattoo - if crime thrillers are your bag, this is an excellent example.