This is not a movie I would recommend to EVERYONE, but a certain kind of viewer would definitely enjoy it immensely, mostly those that are already familiar with the colorful, psychological (and very Freudian) mystery-thrillers popular in Continental Europe in the 1960's and early 70's--movies like "The Frightened Woman", "Girl on a Motorcycle", "La Piscine", "All the Colors of Darkness", "Footprints on the Moon" and even UK/American films like "Repulsion" or "Psycho" fit in here a little. These films all are based on the old-fashioned idea of women as hysterical, mentally unstable creatures who are both easily manipulated by others and never too far from a complete psychotic break. Most of these films are regarded somewhat ironically today by their fans (like myself), but, of course, the irony in this movie is completely intentional, just like the nostalgia factor. The nostalgia meanwhile will no doubt appeal not just to fans of this long ago genre, but also to people who enjoyed other recent Euro films that pay homage to this era like the "OSS 117" films and the romantic French comedy "Populaire" (also a tale about tres sexy French secretary in pre-woman's lib days).I won't rehash the plot, but this is a fairly effective thriller that really keeps the audience guessing about whether the protagonist is hysterically crazy or is being manipulated by others. Like the original films, it has a strong visual style, also very reminiscent of the recent French giallo homage "Amer", but not quite as over-the-top in its non-linearity and hallucinatory visuals. The lead Freya Mavor is a very strong asset. She's not necessarily believable as a mousy secretary at the beginning, because even in her more "repressed" guise she's sexy as all hell. But the same can be said of all the femmes that originally played these beautiful head-case roles--Catherine Deneuve, Edwige Fenech, Barbara Bouchet--or the modern-day actress Deborah Francoise, who played the "shy", sexed-up secretary in "Populaire".The rest of the cast is mostly male and suitably either creepy and sinister or charming and sinister. Most notable is who plays the protagonist's handsome boss at the "Mad Men"-type ad agency where she works . His younger wife, who was a former colleague of the protagonist before she married the boss, meanwhile is played by Staci Martin from "Nymphomaniac". The only thing this movie is missing frankly is a gratuitous lesbian scene between them (which wouldn't have been gratuitous at all since these movies are all ABOUT style over substance). I doubt anyone will be too disappointed though because Mavor herself is certainly sexy enough for one movie and spends most of the film modeling various abbreviated fashions of the day or appearing in various stages of undress (and in one very hot sex scene).Of course, there are many people who are perfectly fine with the fact that they don't make films like this anymore (even in France). But nevertheless as an homage to very different era, and a very different kind of filmmaking, this is certainly a worthwhile effort

This is already the second bad screen adaptation of a magnificent book. Well, to enjoy even the original story, you must either remember or imagine the times without cell phones and developed forensics investigation -- this seems to be a problem for some reviewers here. If you can, the book has everything lacking in the movie: a beautifully crafted chain of events with the murderer's accomplice constantly modifying his plains to frame and kill Danny and the seemingly unlikely chances that let her escape the net again and again. But these "random" events are deeply connected with her character that in the book undergoes an exemplary character development, first drifting with the events, then the self-doubt, and in the end taking the things in her own hand before reaching Marseille. ("The phoenix being born again" -- this is really dismal that this memorable point of the book is not shown in the movie at all, it's not even attempted.) Her inner strength is nowhere to be seen in the movie, although they succeeded in showing her meekness as well as her longing for freedom and luxury.The actors seem to have done everything they could within the limits of the script, but Benjamin Biolay is miscast as Monsieur Caravaille: he should be a heavily built strong man, menacing already in his appearance, but energetic and silken at the beginning, not annoyed and lethargic all the time. Freya Mavor is rather good but her skin is not tanned, which is very important in the book -- this is why everybody she encounters on the road instantly believes she is from the upper class. With this very bold freckled and pale appearance she could never be mistaken for another woman. And the role of "Georges" is kind of quickly thrown together here, while vivid and remarkable in the book, so Elio Germano did not have a real chance either -- but succeeds to show at least a little from both his easy-going and menacing sides.The air of the sixties is well represented sometimes, in the indoor settings, her clothing and certainly in the mighty Thunderbird itself -- but come on, all the roads are empty and besides the actors there is not a living person in sight at Paris-Orly. Some contemporary footages could have helped here!

Coherence and sense make a lot of watching any film. Without it, whether from a narrative or thematic standpoint, or both, there's nothing being communicated and thus barely anything worth watching.That's, for the most part, the case here with this film, which is a remake of the 1970's French film of the same name — appropriating that title and narrative, and trying to explore a deeper 'murk' with the operative of sexual encounters driving the confusion that is suppose to neatly unravel the twists in the plot. However, the sex (why is it always sex?) only stalls the inevitable, underwhelming reveal, spoilers be damned.At very least — emphasis on the "very" — the performances are still somewhat compelling; Freya Mavor is almost effortlessly charming and instantly watch-able, and I definitely get a feel for her character, almost solely off her performance alone. Also in supporting roles, Benjamin Biolay plays like he's auditioning for David Fincher's next noir thriller and Stacy Martin shows that she can transplant the natural charisma of Young Joe (Nymphomaniac, 2013). All three should be well worth a watch in more fortuitous and ambitious projects in the future.

What an interesting movie! There is something quite Lana Del Reysque about this movie that is really intriguing and beautiful at the same time.The main female role is perfect. Very convincing. Very French and suitable for this kind of mystery thriller. The title of the movie just adds something unusual to it which goes perfectly with unusual development of the movie. As the girl is on her way to the sea ( that she has never seen) you get the feeling that she is not well mentally...that maybe she has a bipolar dysfunctional personality or something. That even maybe it is something in her glasses that she switches from time to time or even that her bipolar personality has something to do with mirrors... Well, at least, I had that feeling. And the feeling of mystery - I would say - is the predominant in the movie.It is nicely shot. Keeps you guessing and wondering ... the end with the explanation is really unexpected, but it is fitting.All in all, quite good! 8 from me.as it is some 2 hours and 45 minutes to midnight and new 2016, this may very well be the last movie I watched in 2015. Not a bad ending.