Isabelle Huppert (nominated for best actress) is a successful video game designer who is, in the film’s first scene, brutally raped. The twist is that she is already so cynically wired and self-loathing that the act does not have the consequences one might expect. In short, she’s a tough-as-nails cookie, central to the maintenance of her successful business, dolt of a son, needy ex-husband and outrageously libertine mother. She is also brazenly selfish, carrying on an affair with the husband of her best friend, with whom she has an almost romantic relationship.
So, when her rapist begins to text her and even break into her house to leave “mementos”, she is as much intrigued as terrified. The result is, at its best, a Hitchcockian sexual thriller and sly comedy of manners, and, when the mystery is solved, at worst, a smugly self-satisfied weirdo tale. All in all, a solid film by Paul Verhoeven (Black Book, Robocop), who has made a career sticking his thumb in the eyes of traditional sexual mores, usually with a taste for the violent. Huppert is nothing less than commanding.
The politics of the film are also interesting. It has been dubbed by many critics as a “rape revenge” movie, but it is really a great deal more complicated than that. I am guessing the moniker was affixed to ward off much of the picture’s untidy political incorrectness (as one progressive reviewer unsurprisingly notes, this is a “male filmmaker’s lurid, repeated depiction of violence against a female character, one who is defined, almost entirely, by her relationship with men, shown in nightmarish detail”). If someone brought this baby on to an modern American campus, the viewers would likely be institutionalized and those responsible tarred and feathered.