Cécile and Samira can't pay their expensive Paris rent. Walking down the street the two girls see an art gallery reception and finesse their way in. In attendance are Michel Farnèse, a very...
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Cécile and Samira can't pay their expensive Paris rent. Walking down the street the two girls see an art gallery reception and finesse their way in. In attendance are Michel Farnèse, a very well-to-do corporate lawyer, and his wife Viviane, an artist. While Samira overdoes it at the buffet table, Cécile steals some wallets from coats at the coat check. The girls are ejected. Michel notices his wallet is missing... The girls try to rob a Chinese jeweller but there's a scuffle. Cécile escapes; Samira, a Moroccan, is arrested. Cécile needs to find a lawyer. She sees Michel's card in his wallet... Michel agrees to take the case, since Cécile comes from the same poor neighbourhood he worked his way out of. The jealous Viviane suspects her husband has another reason... Cécile's old boyfriend Vincent provides her an alibi for the robbery. His testimony gets Cécile acquitted and he wants her back. Cécile comes to Michel's office to thank him. She leaves, but forgets her sweater. Michel takes ...Written by
A tantalising tale of love, lust, betrayal and jealousy, En plein coeur amasses to nothing more than a frustrating folly, more engaged with the grandeur of its own concept than producing any real substance.
A famous Parisian lawyer (Gerard Lanvin) becomes involved with a delinquent shoplifter (Virginie Ledoyen) following her attempt to rob a jewellers with a toy gun. Entranced by her passion and life, the lawyer leaves his chic wife, the timelessly elegant Carole Bouquet, to embark upon an affair so devoid of emotion, that the viewer must wonder whether the director himself needs an alibi.
The cast turn in adequate performances, although special mention should be made to Carole Bouquet's effortlessly aristocratic character who provides all moments of emotion. Simultaneously innocent and wise to her husbands impending betrayal, she forms an intriguing character, too frequently overlooked in favour of the disjointed and superficial Virginie Ledoyen.
En plein coeur is guilty of all the cliches that is normally to be found in North American film. On this occasion it is a French director who believes you should feel moved by the force of the leads passion when he tells his wife he's leaving her for a woman who makes him "feel young again." For me, there is no irony here, polishing and carefully arranging each cliche does not merit praise, only disappointment.
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