He creates the animation of Michèle but doesn’t intend to circulate it. She gets closure from that. And that, ultimately, is the most cutting observation in "Elle," and Verhoeven's aim is accurate and deadly. In reality, it is Kevin who has created the animation but we aren’t told this yet. In a swift clean sweep, Michèle fixes up just about every loose end for her and the people in her life.
But later in the film, when Michèle does consent to sex, enthusiastically, watch how her lover is unnerved by a woman who wants it, who doesn't have to be talked into it.
There are mysterious text messages on Michèle’s phone, somewhere between erotic enticement and menace, which may come from her lover-on-the-side. On another level, devout religious belief plays a key role, also involving psychological ‘splitting’: after all, Georges committed his murders after being forbidden to ‘bless’ his neighbours’ children. Rebecca’s on a trip. Later, Patrick comes to help Michèle close her window shutters. He too appears to be unsuccessful in life and a failed writer. She also tells Patrick that he shouldn’t expect to get away with what he did. Paul Verhoeven is the director who brought us the old school hits like Robocop, Total Recall, Basic Instinct etc. Even very talented actresses want to make sure that we "understand" why the character does what she does. Patrick assaults Michèle again. It begins with a cat, gazing nonchalantly, then slinking away – while, off screen, we hear what could be pain or pleasure. Michèle protects herself and undertakes her own investigation, but definitely does not seek revenge against her attacker – even once she knows who it is. But this time Michèle stabs his hand with a pair of scissors and unmasks her attacker to realize that it was Patrick. Elle superimposes several ‘worlds’, or social sectors. There's always some element of mystery left intact in Huppert's work. No one mentions anything about it. Neither can Verhoeven. He acts like he’s checking the house to make sure it’s safe. Elle has been frequently misdescribed as a revenge tale. This woman has too much to DO to fall apart after the rape. There’s the brutish Kurt at work, antagonistic towards Michèle. The Digital Edition and Archive quick link. And that Michèle is safe.
Who's the "bottom" in any given moment?
We’re made to believe that he doesn’t want to cheat on his wife. He’s interested in the psychology and behavior of this particular woman. About ending it. Subscribe now for exclusive offers and the best of cinema. But for some reason he does. She says at one point, "Nut jobs I can handle.
Did she set up the situation on purpose so that Vincent could save her?
You can't imagine any of those women, or Isabelle Huppert, who plays Michèle, going to a support group or therapy. She’s a lady who pays to be with younger men and satisfies her physical cravings. Certificate 18 130m 42s, CastMichèle LeBlanc Isabelle HuppertPatrick Laurent LafitteAnna Anne ConsignyRichard Charles BerlingRebecca Virginie EfiraIrène Judith Magre, UK release date 10 March 2017Distributor Picturehouse Entertainment The animation gets stolen from his PC and leaked. We don’t know. "Elle" is a dissertation on power dynamics. We are soon shown that the baby is not Vincent’s. Vincent’s struggle with his life and job comes next. He is suspected to have created an animated version of Michèle getting sexually assaulted by a monster. But the film (with a couple of sick and twisted adjustments) is mostly reminiscent of the "women's pictures" of the 1930s and 40s, starring the shoulder-pad boss-bitches of Hollywood’s Golden Age, dominant dames like Bette Davis, Joan Crawford, Barbara Stanwyck, whose characters were put through wringers involving snake-in-the-grass boyfriends/husbands, ungrateful children, career treachery. There is no doubt that the rape in "Elle" is horrifying. Patrick takes off his mask and drops dead.
Robert – Anna’s husband. Michèle goes to meet her father.
She stuffs the dress she was wearing in the trash. She's freaked out. Rebecca tells Michèle this – “Patrick was a good man but he had a tortured soul”. She's not blasé about what happened.
He takes the baby and comes home to Michèle’s place. Anna – Michèle’s business partner at the firm.
The lady still hates Michèle and her father for the murders. Vincent too has ignored the obvious and is extremely thrilled about being a father. Huppert can be frighteningly blank ("The Piano Teacher," "La Cérémonie"), she can be human and flawed ("Amour," and the upcoming "Things to Come"). He goes about life as if everything is dandy. Do check the film out before you read.
Michèle – she is an independent, successful woman who runs a Video Game company. Above all, there is family (four generations, in this case), and the tangled ties it imposes. Irène – Michèle’s mother. Well, those are the crazies in this story. Michèle is shown to be extremely rude towards him and her mother. She takes a bath, blood from her genital area staining the bubbles above. The ending leaves you with the question of – “what the hell was this film about?”. Every man she knows is a suspect. Anna decides she is selling off her huge house and wants to move in with Michèle for a while. Distracted by a deer, Michèle crashes her car. Distinct from the more detached ‘ensemble view’ favoured by those directors, Verhoeven and screenwriter David Birke tell this complex tale by closely observing the enigmatic, ever-surprising behaviour of Michèle, who is among the most memorable screen creations of the past decade. One by one, these possibilities are dealt with – but the film has more on its mind than scattering a bunch of narrative red herrings. Now, it’s not like she plots all of it to come to a great culmination. The scene in the cafe where a lady drops her food on Michèle shows just that. She does not call the police. Something other than blood ties matters here: the type of shared experience that Michèle will come to appreciate at the denouement. We quickly realise that the cat’s owner, Michèle (Isabelle Huppert), is being raped by a masked attacker. Vincent’s weak and doesn’t stand up for himself. The film is a bit of a punch-in-the-face every now and then and you constantly are thinking “What?” “Really?” .. but in an “I’m still interested and would like to continue” sort of way. There’s an obscene video that goes around the office computers, superimposing Michèle’s face on an animated woman being raped. Every interaction, not just sexual and political, contains small jostles for power, position, dominance. Welcome to Judgment City: A Look Back at Defending Your Life, The West Wing Returns for an HBO Max Special, Touring Masterworks: Adam Nayman Discusses His New Book on Paul Thomas Anderson.