Elle (film)

Paul Verhoeven stated that he felt the movie was an opportunity for him to do "something very different to anything I've done before. But this stepping into the unknown, I think it's very important in the life of an artist. It puts you in an existential mode. As an artist you have to, as much as possible, step into the unknown and see what happens to you."[7] The project was unveiled at the Marché du Film during the 2014 Cannes Film Festival where it was described as "pure Verhoeven, extremely erotic and perverted."[8] Verhoeven was looking for an actress who would be "prepared to take that on" and believed Nicole Kidman "could handle this role."[9] He also considered Charlize Theron, Julianne Moore, Sharon Stone, Marion Cotillard, Diane Lane, and Carice van Houten for the role of Michèle, a businesswoman who is raped in her home by an unknown assailant and refuses to let it alter her precisely ordered life.[9][10][11][12] Verhoeven told The Guardian that he reckons that the only American actress who would have been willing is Jennifer Jason Leigh. "She would have had absolutely no problem, she's extremely audacious. But she's an artistic presence and we were looking for names," he said.[13] Verhoeven's inability to convince a major American actress to play the part left him frustrated, as he later explained, "I agree that there are not many female parts – certainly not in American cinema. It's weird that when there is one, they lacked the audacity to be controversial. I hope all these actresses see the movie."[13]

The film was originally supposed to take place in Boston or Chicago but, according to Verhoeven, it proved to be "too difficult" to shoot the film in the United States due to its violent and immoral content as "that would have meant getting more into the direction of Basic Instinct, but a lot of the things that are important in the movie would probably have been diminished. By bringing it more into a thriller direction, I think it would have lost everything. It would probably have been banal and transparent. The mystery would have gone."[14][15] Verhoeven then decided to do it in French and used a significant time before production to learn the language, in order to effectively communicate with the predominantly French cast and crew.[16] In September 2014, French actress Isabelle Huppert signed on to star in the film as Michèle.[17] Huppert had expressed interest in a screen adaptation of the book before Verhoeven, whom she described as "one of the best directors in the world for me,"[18] joined the production and accepted the part immediately, "I had no doubt about the integrity to the role. Of course if you just circle the story to the rape and a woman being attracted by the man who raped her, I mean, that really makes the whole purpose very, very narrow and limited. I think it's a lot more than this. And she's really an interesting character because she always goes against predictable definitions of what it means to be a woman, what it means to be a man. Obviously, the movie's about a woman. But it's also about men, you know, and the men are sort of fading figures, very weak, quite fragile. So it's really also about the empowerment of a woman."[19]

Leading actress Isabelle Huppert

Principal photography began on 10 January 2015 for a ten-week shoot.[20] Filming took place in and around Paris. A planned sequence in Paris' main police station was cancelled following the Charlie Hebdo shooting on 7 January.[21] The film was also shot in a house for Huppert's character in Saint-Germain-en-Laye for five weeks.[22] Verhoeven's mise-en-scène for the film was influenced by three films: Federico Fellini's 8½, Jean Renoir's The Rules of the Game and Orson Welles' Touch of Evil. Every scene was choreographed, and Verhoeven storyboarded the whole film himself.[16] He chose to shoot the film with two Red Dragon cameras,[23] as "These days the amount of time a director is given to make a movie has diminished by 40 to 50 percent. Working with two cameras solves part of that problem while giving you the opportunity to do things that you wouldn't do before."[16]

When the film wrapped, Verhoeven described the shoot as "difficult"[24] but later admitted that "in retrospect, it was very pleasant and easy."[25] He dismissed rumors that Elle was an "erotic thriller" in the tradition of some his previous films, including Basic Instinct, "Those people who think that this is an erotic film will be disillusioned. They are in for a strange confrontation with a movie that is... not ordinary. I don't think the story is erotic; it's about rape. An erotic thriller would be a bit weird, right? I mean, it might be erotic for the person doing it, but I don't think that rape in general is something you would call erotic."[16] On 13 May 2015, he told Variety he had "a strong feeling with this one that I was doing something that I'd never done before, which applied when I made RoboCop."[26] He also praised Huppert's performance, saying that "She is an extremely gifted actress that gives you more than what's on paper… even what's in the book. She does experiments in her mind to get to places that she would probably avoid in reality. And she does that in an absolutely unique way."[26] He also said in an interview with Film Comment:

She's one of the most brilliant actors I've ever met in my life. She's so extremely special and is able to avoid any cliché in any situation, always finding a different way of doing things. She comes up with all kinds of extra details that you wouldn't even dream of, that I would never come up with on my own. She's not only a great actress but she is also especially imaginative and creative in her approach to the character. I didn't have to tell her anything about Michèle because it was clear from the first shot that she knew exactly what her character would do and how she would behave in whatever circumstance. She is extremely audacious and she really had no problem with anything that was in the script, so I have an enormous respect for her.[16]

During the rape scene, Isabelle Huppert struggles and then says 'Arrête!' ('Stop it!', in French), which was not written in the script. "It was very violent, I must say. I was a little scared, too. So I had to make them understand that they shouldn't go any further... Sometimes, when there are very physical scenes, like this one, you can hurt yourself. It's part of the things that you don't understand. It was not planned that I say it, even less in French. I felt that they needed to hear something different," Huppert said.[27]

The score of Elle was composed by English composer Anne Dudley and was released on 23 September 2016.[28]

Isabelle Huppert's performance garnered critical acclaim and she received an Academy Award nomination for Best Actress. She also won her first Golden Globe award for her performance in the film.

Elle received widespread critical acclaim, with particular praise for Huppert's performance and Verhoeven's direction.[5] On review aggregator Rotten Tomatoes, the film holds an approval rating of 91% based on 247 reviews, with an average rating of 8.00/10. The website's critical consensus says, "Elle finds director Paul Verhoeven operating at peak power—and benefiting from a typically outstanding performance from Isabelle Huppert in the central role."[39] At Metacritic, which assigns a normalized rating to reviews, the film received an average score of 89 out of 100, based on 36 critics, indicating "universal acclaim".[40]

The film received a seven-minute standing ovation at its Cannes Film Festival international premiere.[41] Leslie Felperin of The Hollywood Reporter called it "the most empowering 'Rape Movie' ever made," and wrote, "Paul Verhoeven's film about a woman's complicated response to being raped will draw ire from feminists and others, but it's one of the bravest, most honest and inspiring examinations of the subject ever put onscreen."[42] Stéphane Delorme of Cahiers du cinéma wrote the film was "a striking return for the Dutchman. We didn't dare dream of such an audacious, generous film."[43] Guy Lodge of Variety said, "Isabelle Huppert might be our best living actor, and Elle might be Paul Verhoeven's best film."[44][45] Eric Kohn of IndieWire described it as a "lighthearted rape-revenge story."[46] Jordan Mintzer of The Hollywood Reporter called the film a "tastefully twisted mid-to-late-life crisis thriller that's both lasciviously dark and rebelliously light on its feet" and added that Verhoeven and Huppert "combine their talents to make a film that hardly skimps on the sex, violence and sadism, yet ultimately tells a story about how one woman uses them all to set herself free."[47] Jason Gorber of Twitch Film thought the film was "a masterwork by a master filmmaker, while Huppert's performance reminds the world once again what a treasure she is."[48] Ben Croll of TheWrap believed the film was "riotously funny, and Isabelle Huppert has never been better."[49]

Christopher Hooton of The Independent said it was "Cannes' only real high point."[50] Xan Brooks of The Guardian found the film "utterly gripping and endlessly disturbing" and wrote, "Isabelle Huppert delivers a standout performance as a woman turning the tables on her attacker in the controversial director's electrifying and provocative comeback."[51] Lisa Nesselson of Screen Daily found that Huppert's "self-assured-and-aloof register is a perfect fit with Verhoeven's taste for far-fetched human behaviour presented as plausible," and described the film as "suspenseful and unsettling from first frame to last."[52] David Sexton of The Evening Standard labeled the film as "outrageous, funny and shocking, exhilarating and original."[53] Catherine Bray of Time Out wrote the film "might just be the most Paul Verhoeven film yet, due to its willingness to push buttons, explore transgressive territory and take constant delight in venturing where the vast majority of filmmakers would fear to tread" and predicted, "It's a film that will inspire debate for decades to come."[54]

Richard Brody of The New Yorker wrote, "Elle is no exploration of a woman's life or psyche but a macho fantasy adorned with the trappings of liberation."[55] Bidisha, writing in The Guardian, rounded on the film's racist humour and for perpetuating misogynistic stereotypes about domestic abuse and rape fantasies: "In a vicious insult to all survivors of men's sexual violence, the filmmakers have recast the perpetrator and his victim as being in some kind of relationship or affair driven by her masochism, in which his abusiveness is simply a necessary fuel... It's a classic, malicious lie: that rape awakens women's sexuality."[56]

Elle was listed on numerous critics' top ten lists.[57]

Huppert and Verhoeven at the 42nd César Awards

On 26 September 2016, the French National Center of Cinematography and the Moving Image selected Elle as the French entry for the Best Foreign Language Film at the 89th Academy Awards.[58] When the Academy of Motion Picture Arts and Sciences announced a shortlist of nine pictures competing for the category on 15 December 2016 that did not include Elle, many media, including The Hollywood Reporter,[59] The New York Times,[60] Entertainment Weekly,[61] The Independent [62] and The Guardian,[63] slammed Elle's omission as a "snub." Gregory Ellwood of The Playlist wrote that the film became "one of greatest Oscar Foreign Language Film Snubs of all-time."[64]