Search: Starring Isabelle Huppert

Ozon's quirky French murder mystery-cum-comedy-cum-musical is a brilliant pastiche on so many genres, it has no right to be as entertaining as it is, or as gripping.

Breillat shows from her own experience with having suffered a stroke and the camera tells of the hospital and the patient's progress in a tone that is unsentimental, poignant, free.

Haneke goes far beyond pushing emotional buttons into territory where our most visceral fears lurk.

Mendoza never lets your expectations, or your blood pressure, settle as the strange and isolated group face physical and existential threats.

A sugary delight with a delightfully bitter aftertaste.

Sautet's film offers an interesting snapshot of shifting sands in the Seventies sexual revolution.

the mystery is intriguing and the performances engrossing and the cinematography exquisite.

A polished, satisfyingly involving whole that avoids any mainstream trappings and credits the audience with intelligence and maturity.

Dumb Men Dead would be a more apt title.

Dormant Beauty expands beyond the central case to look at myriad issues around coma, caring, bereavement, euthanasia, suicide and choice.

The beast of burden’s travails seem to be a thinly veiled criticism of Polish society which erupts in one sequence into mindless violence.

How the characters deal with grief is beautifully captured in the nuanced performances of McAvoy and Chastain.

Huppert's outstanding performance embraces with unswerving delicacy the controversial decisions she faces.

It is only sporadically involving with even the usually hypnotic Huppert struggling to make an impression.

The performances of Greggory and Huppert are monumental.

The plot plays with the concept of friendship as a precious gift, or a perversion of captivity.

Haneke is a master of his material, revealing just enough to keep the viewer on tenterhooks but not enough to give an easy explanations.

This enticing tale of spiralling humour and darkness is an accomplished debut.

This is as inventive and left field as Being John Malkovich, but with broader smiles and bigger issues.

Trier has difficulty holding it all together as he examines themes of grief, parenting, family, and coming of age.

An exercise in stamina and perseverance.

Director Claude Chabrol has become the master of innuendo.

The documentary ultimately chronicles a provocateur in his quest against indifference and the conventions of an obscene normality.

This is almost pure wish fulfilment fantasy, but it’s delivered with confidence and style.

Although we alight at many points of interest throughout the journey, we never stop long enough anywhere to explore.

The film captures the orgiastic nature of a society that has no shame.

Pauline Etienne sweeps all before her as Suzanne Simonin, a nun who wants none of it.

Godard breaks down the barrier between documentary and fiction.

Haneke documents the humiliation and the desire, as a newsman might report a suicide. He is careful not to intrude and yet insistent on seeing everything.

If Kruithof’s main ambition with Promises is to make audiences debate and ponder over the relationships between politicians and the public then it is definitely succeeds in its efforts to bring these puzzling and interesting topics to light.

Private Property is an ostensibly simple film which reveals increasingly complex layers the more one thinks about it.

Throughout there is a powerful sense of place and of the alien relationship our heroine still has with a land where she has lived for many years.

The ‘narrative’ is simply a series of characters and events on which to hang material for various readings, and it is these readings that provide enjoyment.

Sustained by a bravura performance from Isabelle Huppert in a total change of register from her last comedic outing with the same director Mama Weed, the new collaboration never puts a frame out of place.

Huppert is perfect - no trace of self-pity waters down the complicated emotions at work.

It is easy to admire Haneke's skill as a filmmaker, but harder to enjoy the experience.

Huppert's lines feel stiff from the get-go, predicting a vague narrative limited by a purposefully strange dialogue.

The natural wonders of the desert can be read as an invitation to reach into the vast barrenness inside.

Jacquot's film does not pander to the young or inexperienced and requires the viewer to read between the lines.

There’s a lot of clever twists here, and plenty of knowing references to Snow White.