The Page Turner

In this sinister but understated film from Denis Dercourt, a young woman exacts vicious revenge on a renowned pianist responsible for causing her artistic demise as a child. In the first third of the film, Mélanie (François) is an enigma; the audience remains uncertain whether it is a desire for reconciliation or calculating spitefulness that propels her to accept a job caring for the son of pianist Ariane (Frot). Mélanie's unsettling demeanour towards Ariane is notably reminiscent of In's' in Sartre's No Exit, in her callous and deliberate use of sexuality to ruin Ariane's marriage. One of the film's main strengths is its subtlety in depicting Mélanie's decidedly sinister intentions. At first appearing merely stoic, a distinctly ominous undercurrent is more obvious as it becomes clear that her hatred for Ariane has been nurtured for years, and she appears possessed by demons of deep resentment. Both François and Frot are convincing working within this classic revenge structure. Unfortunately, the tone shifts to melodrama in the final scenes and serves to somewhat diminish the film. [Ilani Blanke]