Filmed by François Ozon and featuring French cinema icon Isabelle Huppert – alongside celebrated performers Nadia Tereszkiewicz, Rebecca Marder, Fabrice Luchini and André Dussollier – the lighthearted crime drama presents a distinctive look at celebrity, gender dynamics and the legal system. Set during the 1930s, complete with appropriately stunning period dress, the picture follows a penniless actress who achieves surprise fame after being cleared of murder on self-defence grounds.

Critics responded positively upon its 2023 debut and although it addresses weighty topics surrounding cancel culture and the Me Too movement through a theatrical and somewhat superficial lens, it earned praise for its feminist perspective. Madeleine Verdier (Tereszkiewicz) is a broke, aspiring actress residing with her friend, the work-starved solicitor Pauline Mauléon (Marder), in a shabby Parisian apartment in 1935.

Madeleine, who is engaged to the unemployed André Bonnard, arranges to meet theatre producer Montferrand, hoping to land a big role in a production.

Yet he tries to force himself upon her after she rejects a minor part in exchange for becoming his mistress. She succeeds in avoiding serious physical injury but receives a visit from a police inspector subsequently who informs her Montferand has been killed and she is under suspicion.

Following her initial denial of any connection to the crime, she opts to enter a plea of self-defence after receiving counsel that this approach could result in her acquittal. Pauline, acting as her legal representative in court, crafts a powerful speech for Madeleine to deliver before the all-male jury, which ultimately clears her of wrongdoing.

The high-profile nature of the case catapults both women into the spotlight, launching their careers and transforming their lives through considerable wealth – until former silent film star Odette Chaumette (Huppert) emerges and confesses to killing the predatory theatre boss.

Universally celebrated as exceptional entertainment, reviewers commend the performances from the distinguished cast, whilst also appreciating the striking cinematography and appeal.

“With urbane confidence, the film rattles its way through jokes about rape, murder and what a later generation would call Me Too; a British or Hollywood movie might hesitate about appearing to make light of these things,” wrote The Guardian.

“But this is a French film we’re talking about; very French. It is tightly drilled, robustly performed and entertainingly shallow.”

On Rotten Tomatoes, where it achieves an almost flawless 98% rating, viewers similarly express their appreciation. “What a breath of fresh air. Silly, glorious, beautifully acted. The best hour and forty-two minutes I have spent watching something in a very long time. A welcome break from the usual dross,” wrote one.

Another expressed hope that wider audiences would experience it. “This film is such great fun – witty, funny and full of big personalities,” they said.

“Yes, it’s in French with subtitles. That doesn’t take away from the enjoyment at all. Watching this film left me feeling like I do after watching a truly excellent play – it is so deeply satisfying. I hope it is made available more widely.”

An enthusiastic cinema enthusiast also commented: “François Ozon’s fanfic [i.e. fan fiction] for the Jazz Age steers clear of pastiche and is utterly charming – throwing a few curveballs to keep you on your toes.”

The Crime is Mine is currently streaming on BBC iPlayer.

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