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The rivalry between the manipulative boss of an advertising agency and her talented protégée escalates from stealing credit to public humiliation to murder.

Director:

Brian De Palma

Writers:

Brian De Palma, Natalie Carter (film "Crime d'amour") | 2 more credits »
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2,856 ( 2,794)
3 nominations. See more awards »

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Cast

Cast overview, first billed only:
Rachel McAdams ... Christine
Noomi Rapace ... Isabelle
Karoline Herfurth ... Dani
Paul Anderson ... Dirk
Dominic Raacke ... J.J. Koch
Rainer Bock ... Inspector Bach
Benjamin Sadler ... Prosecutor
Michael Rotschopf ... Attorney Isabelle
Max Urlacher Max Urlacher ... Rolf
Jörg Pintsch ... Mark
Trystan Pütter ... Eric
Patrick Heyn Patrick Heyn ... Manager
Carlo Castro Carlo Castro ... Fashion Show Choreographer
Melissa Holroyd Melissa Holroyd ... Beate
Ian T. Dickinson ... Officer (as Ian Dickinson)
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Storyline

The rivalry between the manipulative boss of an advertising agency and her talented protégée escalates from stealing credit to public humiliation to murder.

Plot Summary | Add Synopsis

Taglines:

No backstabbing. Just business. See more »


Motion Picture Rating (MPAA)

Rated R for sexual content, language and some violence | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook | Official site | See more »

Country:

France | Germany

Language:

English | German

Release Date:

30 August 2013 (USA) See more »

Also Known As:

Paixão See more »

Filming Locations:

Germany See more »

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Box Office

Budget:

$20,000,000 (estimated)

Opening Weekend USA:

$40,100, 1 September 2013, Limited Release

Gross USA:

$91,186, 22 September 2013
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

This is the seventh film by Brian De Palma that composer Pino Donaggio has scored. Their first collaboration was Carrie (1976). See more »

Goofs

Exterior shot supposedly in London - see the double-decker bus - except the vehicles are driving on the wrong side of the road. The scene was actually shot in Berlin, Germany. See more »

Quotes

Isabelle James: What do you want?
Christine Stanford: I used to want to be admired.
Isabelle James: I admire you.
Christine Stanford: Well, now I want to be loved.
See more »

Connections

References The Agony and the Ecstasy (1965) See more »

Soundtracks

Concerto for Violin and Orchestra BWV 1041 - Adante
Composed by Johann Sebastian Bach (as J.S. Bach)
Violin: Takako Nishizaki (as T. Nishizaki)
By Capella Istropolitana conducted by Oliver Dohnanyi (as O. Dohnany)
Kapagama / Naxos - HNH International
See more »

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User Reviews

The narrator goes mad
20 June 2013 | by chaos-rampantSee all my reviews

DePalma's first film in five years is purely for the fans, a throwback to his sensual thrillers of old; Sisters, Obsession, Dressed to Kill. So right off the bat, this probably excludes the majority of casual viewers who will find this too messy and too illogical to be of substance. Younger viewers who simply pick this off a website, will probably see the visual tricks he pulls as weird, lame stabs on ordinary technique.

The problem is that DePalma has not changed as a filmmaker, it's the film norm that has absorbed and extended so much visual language that was considered somewhat radical in his time, so when Tony Scott films are marketed as ordinary action, of course he'll seem far less sophisticated. Same thing happened with Hitchcock near the end, when guys like DePalma where coming out.

But oh what sweet, sweet DePalmaesque inanity this is!

What DePalma is saying is always in the camera. He seems to say: this is a movie, the result of illusory placement of the eye, so why not go wild on placement? Also: the eye, by its very nature, causes narrative dislocation. He is intelligent, not in what the dislocations mean but in the fact they are shown to be at work, which now and then fool as depth in just the same way they fool the characters.

You'll see all sorts of fooling the eye here. The car crash in the company garage, first filmed as dramatic with lachrymose piano cues and the second time as comedy. Scenes filmed with dutch angles and unusual shadows to register as dream but they are real. A split-screen that lies about its timeline. A scene set-up to be viewed as hallucinative dream but it's a flash back. And later we know it was an untrusted narration.

Many others will make a more streamlined, more exciting thriller, but no one is so committed to expose cinematic illusion like DePalma. He doesn't hit deep, because the illusion is not wrapped around character but around plot, that is always the tradeoff with him. A tradeoff I am willing to make, because I can find more introspective filmmakers elsewhere. There is Wong Kar Wai, Shunji Iwai. Lynch, who brings illusion alive.

But then you have an ending like this. It is utterly nonsensical as story, but the narrator has fooled us so much we'll fool ourselves thinking it's more than madness.


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