This review may contain spoilers.
There’s a vintage Photoshop scene and I really felt the 90s flooding back
Emmanuelle Béart’s Nelly types like she’s playing piano, and it’s one of the weirdest choices I’ve seen on film. I love how clear she is in communicating with everyone, and how it drives everyone to anger. But maybe that’s just because they want to possess her, and she refuses to play along. I liked how Serrault plays Arnaud’s entitlement gradually easing into wistful acceptance—to give up not only all those books but being edited by Emmanuelle Béart? No wonder he looks so sad at the end.