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Movie where Girl Is Drugged and Raped

Written By Friday, May 6, 2022 Add Comment Edit

2016 film

Elle
Elle poster.jpg

Theatrical release poster
Directed past Paul Verhoeven
Screenplay past David Birke
Based on Oh...
by Philippe Djian
Produced past
  • Saïd Ben Saïd
  • Michel Merkt
Starring
  • Isabelle Huppert
  • Laurent Lafitte
  • Anne Consigny
  • Charles Berling
  • Virginie Efira
  • Judith Magre
  • Christian Berkel
  • Jonas Bloquet
  • Alice Isaaz
  • Vimala Pons
  • Arthur Mazet
  • Raphaël Lenglet
  • Lucas Prisor
Cinematography Stéphane Fontaine
Edited past Chore ter Burg
Music past Anne Dudley

Product
companies
  • SBS Productions
  • Pallas Film
  • France two Cinéma
  • Entre Chien et Loup
  • Canal+
  • France Télévisions
  • Orange Cinéma Séries
  • Casa Kafka Pictures
  • Proximus
  • Center National de la Cinématographie
  • Filmförderungsanstalt
Distributed by SBS Distribution
Sony Pictures Classics (Us)

Release dates
  • 21 May 2016 (2016-05-21) (Cannes)
  • 25 May 2016 (2016-05-25) (French republic)
  • sixteen February 2017 (2017-02-16) (Germany)

Running fourth dimension

 130 minutes
Countries
  • France
  • Frg[1]
Linguistic communication French
Budget $9.1 million[ii]
Box office $12.seven million[iii]

Elle (French for 'she' or 'her') is a 2016 thriller film directed by Paul Verhoeven and written past David Birke, based on the novel Oh... by Philippe Djian. Djian's novel was released in 2012 and received the Prix Interallié (National Literary Honor).[4] The film stars Isabelle Huppert as a businesswoman who is raped in her domicile by a masked attacker and decides not to report it due to her past experience with police force.

The film is Verhoeven'due south beginning characteristic since 2006's Blackness Book, and his first in the French language. It premiered in competition for the Palme d'Or at the 2016 Cannes Flick Festival where it received critical acclaim.[5] Elle won the Golden Globe Award for Best Foreign Linguistic communication Film and Critics' Choice Movie Award for Best Strange Language Film; it was as well selected as the French entry for the Academy Award for All-time Strange Language Film, simply was not nominated.[half dozen] At the 42nd César Awards in France, the moving picture received xi nominations, and won All-time Picture show.

Huppert'south functioning was widely acclaimed, considered to be one of the finest of her career. She was nominated for the University Honour for Best Actress, and won several All-time Actress awards, including the Gilded Earth Award, César Award, National Society of Film Critics Accolade, New York Picture show Critics Circle Award, Los Angeles Picture show Critics Association Laurels, Gotham Contained Picture Honor, and the Independent Spirit Accolade.

Plot [edit]

Michèle Leblanc is raped in her home by an assailant in a ski mask. She then cleans upwards the mess and resumes her life. She is the head of a successful video game company, where her male employees are alternately resentful of or infatuated with her. She carries on an affair with Robert, the husband of her friend and business partner Anna, and flirts with her married neighbor Patrick. Michèle feels discrete from her son Vincent, who submits to his calumniating, significant girlfriend Josie. She has a contentious human relationship with her mother, Irène, whom she resents for her narcissism and involvements with younger men. Furthermore, she is the daughter of an infamous mass murderer whose parole hearing is approaching. Haunted by her male parent'southward actions, Michèle is wary of law enforcement and does not report her rape to police force.

Michèle grows increasingly suspicious of the men in her life. She receives harassing text messages from her aggressor at a blocked number, indicating he is stalking her. She at first suspects Kurt, a particularly resentful employee, when a CGI animation of a monster raping her is emailed to everyone at the visitor. She pepper-sprays a man lurking outside her house, only to find out it is her ex-hubby Richard, who was checking on her condom. She later discovers that some other employee, who has been infatuated with her, created the animation only did not rape her.

On Christmas Eve, Irène suffers a stroke and begs her daughter to go run into her father before she dies in hospital. Michèle is subsequently attacked in her abode by the aggressor and, subsequently stabbing his hand and unmasking him, learns that he is Patrick. Though she now knows his identity and realizes that he is able to enter her home despite having her locks changed, she still does non call the police and takes no measures to increment her dwelling security.

Michèle decides to visit her father subsequently his parole awarding is rejected, only to notice that he has hanged himself hours before she arrives. On the mode abode from the prison, she gets into a car crash in a secluded area. Rather than calling an ambulance, she first tries to call her friends, and then decides to call Patrick. After he rescues her from the car and bandages her, Michèle courts a brazenly dangerous sexual relationship with him. She engages in a vivid rape scenario with him. The 2 of them walk a delicate line in which Patrick has to feel as though he is raping Michèle, even though she consents to the roleplay.

Michèle grows increasingly disillusioned with her life leading up to the launch party for her company'south new video game. She confesses to Anna that she was having an affair with Robert. As Patrick drives her dwelling house, Michèle professes that she is no longer in denial nigh their unhealthy relationship and claims she intends to call the constabulary. She takes her time walking in front end of his parked car after getting out, and then makes a point of leaving her gate unlocked. Patrick enters and attacks her in an ambiguous encounter that blurs the line between rape and consent, but Vincent, who was already in the house, sneaks up behind Patrick and bashes him in the back of the skull. Michèle appears to remain largely composed, but Patrick is seemingly confused as he dies.

Michèle speaks briefly with Patrick's wife Rebecca as she is moving out of the neighbourhood. Rebecca is placid and expresses gratitude to Michèle for beingness able to temporarily "satisfy Patrick's needs"—implying that she was enlightened on some level that the two were sexually involved and that Patrick had inclinations she couldn't satisfy. Vincent is at present more assertive in his relationship and career, while Michèle reconciles with both Josie and Anna; the latter offers to move in with her now that they have both severed their relationships with Robert.

Bandage [edit]

  • Isabelle Huppert every bit Michèle Leblanc
  • Laurent Lafitte as Patrick, Michèle'south neighbor
  • Anne Consigny as Anna
  • Christian Berkel as Robert
  • Virginie Efira equally Rebecca, Patrick'southward married woman
  • Charles Berling as Richard Casamayou
  • Alice Isaaz equally Josie
  • Judith Magre as Irène Leblanc, Michèle's female parent
  • Vimala Pons every bit Hélène
  • Jonas Bloquet as Vincent, Michèle's son
  • Lucas Prisor as Kurt, Michèle's employee
  • Arthur Mazet as Kevin, Michèle's employee
  • Raphaël Lenglet every bit Ralph

Production [edit]

Development [edit]

Paul Verhoeven stated that he felt the movie was an opportunity for him to do "something very different to anything I've done earlier. Merely 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 creative person you accept to, as much as possible, step into the unknown and see what happens to you."[7] The projection 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 have that on" and believed Nicole Kidman "could handle this office."[9] He also considered Charlize Theron, Julianne Moore, Sharon Stone, Marion Cotillard, Diane Lane, and Carice van Houten for the function of Michèle, a businesswoman who is raped in her home by an unknown assaulter and refuses to let information technology change her precisely ordered life.[9] [ten] [xi] [12] Verhoeven told The Guardian that he reckons that the only American actress who would accept been willing is Jennifer Jason Leigh. "She would take had absolutely no problem, she'due south extremely audacious. Just she's an artistic presence and we were looking for names," he said.[xiii] Verhoeven's disability to convince a major American actress to play the part left him frustrated, equally he later on explained, "I agree that there are not many female parts – certainly not in American picture palace. 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 accept identify in Boston or Chicago but, according to Verhoeven, it proved to exist "too difficult" to shoot the film in the U.s. due to its violent and immoral content equally "that would have meant getting more into the direction of Basic Instinct, only a lot of the things that are of import in the moving picture would probably take been diminished. By bringing it more than into a thriller management, I call back information technology would take lost everything. It would probably have been banal and transparent. The mystery would have gone."[xiv] [15] Verhoeven so decided to do information technology in French and used a significant fourth dimension before production to learn the language, in order to finer communicate with the predominantly French cast and crew. 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 every bit "1 of the all-time directors in the world for me,"[18] joined the production and accustomed the function immediately, "I had no uncertainty almost the integrity to the role. Of course if you just circle the story to the rape and a woman existence 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 than this. And she's actually an interesting character because she always goes against predictable definitions of what it means to be a woman, what information technology means to be a homo. Plainly, the movie'southward almost a adult female. But it's besides about men, y'all know, and the men are sort of fading figures, very weak, quite fragile. And then it's really too nigh the empowerment of a woman."[19]

Filming [edit]

Principal photography began on ten January 2015 for a ten-week shoot.[20] Filming took place in and around Paris. A planned sequence in Paris' main law station was cancelled post-obit 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 flick was influenced by three films: Federico Fellini's eight½, Jean Renoir'due south The Rules of the Game and Orson Welles' Touch on of Evil. Every scene was choreographed, and Verhoeven storyboarded the whole moving-picture show himself. He chose to shoot the film with ii Cerise Dragon cameras,[23] as "These days the amount of time a director is given to brand a movie has macerated by 40 to l percent. Working with two cameras solves office of that problem while giving you the opportunity to do things that y'all wouldn't practise before."

When the film wrapped, Verhoeven described the shoot as "difficult"[24] but after admitted that "in hindsight, information technology was very pleasant and piece of cake."[25] He dismissed rumors that Elle was an "erotic thriller" in the tradition of some his previous films, including Basic Instinct, "Those people who recall that this is an erotic film will exist disillusioned. They are in for a strange confrontation with a picture 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, only I don't think that rape in general is something you would call erotic." On 13 May 2015, he told Diverseness he had "a strong feeling with this 1 that I was doing something that I'd never done before, which applied when I made RoboCop."[26] He too praised Huppert's performance, proverb that "She is an extremely gifted actress that gives you lot more than what'south on paper… even what'south 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 mode."[26] He also said in an interview with Moving picture Comment:

She'due south one of the about brilliant actors I've ever met in my life. She'south so extremely special and is able to avoid any cliché in whatsoever situation, always finding a different fashion of doing things. She comes upward with all kinds of extra details that you lot wouldn't even dream of, that I would never come up with on my own. She'southward not simply a groovy actress but she is also particularly imaginative and creative in her approach to the grapheme. I didn't have to tell her annihilation about Michèle because it was clear from the get-go shot that she knew exactly what her grapheme 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, then I have an enormous respect for her.

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

Music [edit]

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

Release [edit]

The first affiche for the film was released in May 2015, during the Cannes Movie Festival where SBS Productions sold the motion-picture show internationally.[26] On 16 Jan 2016, the offset trailer and the final affiche were released.[29] On 11 March 2016, French film mag Le Film français announced that SBS Distribution moved upwardly the release date from 21 September to 25 May 2016.[30] On fourteen April 2016, information technology was announced that the film had been selected to compete for the Palme d'Or in the main competition section at the Cannes Pic Festival.[31] On 27 April 2016, several images of the film were released.[32]

On xi May 2016, information technology was announced Sony Pictures Classics had acquired distribution rights to release the picture show in North America, Latin America, Commonwealth of australia, New Zealand, Scandinavia, Eastern Europe (excluding Russia) and Asia (excluding China and Japan). Sony, who had previously acquired Verhoeven's Black Book, said in a statement: "This thriller is Paul Verhoeven at his very best and Isabelle Huppert gives the performance of a lifetime. Elle promises to be a striking with audiences this autumn." Verhoeven added: "Sony has always been my home in the U.s., and I'm excited that Sony Classics will take care of Elle with the wonderful extra Isabelle Huppert. I'thou pleased that even my European films have ended up with them."[33] Following the film'southward Cannes premiere, Sony appear its theatrical release in the United states on 11 Nov 2016.[34]

On 12 August 2016, it was announced Picturehouse had acquired distribution rights to release the film in the Britain and Ireland. Clare Binns, director of programming and acquisition at Picturehouse, praised Verhoeven, whom she described as "a main filmmaker who has ever made provocative and heady work without compromise - Elle is no exception" and also said, "This gripping, multilayered thriller bowled me over in Cannes and I know it'southward going to be a big talking point. This is what proper cinema for adults is all about."[35] The film was released in the United Kingdom on x March 2017, which made it not eligible for the 70th British Academy Picture Awards.[36]

The pic besides screened at the Toronto International Film Festival on viii September 2016, the San Sebastián International Motion-picture show Festival on eighteen September, the BFI London Film Festival on 8 October, the New York Picture show Festival on 14 Oct, and the AFI Fest on thirteen November, where Isabelle Huppert was honored with a special tribute to her career.[37]

The moving-picture show will be screened at the 72nd Berlin International Picture show Festival in February 2022, where it is i of the homage films to honour Huppert with Honorary Gilded Bear for Lifetime Achievement.[38]

Reception [edit]

Critical response [edit]

Elle received widespread critical acclaim, with detail praise for Huppert'south performance and Verhoeven'southward direction.[5] On review aggregator Rotten Tomatoes, the motion picture holds an approving rating of 91% based on 237 reviews, with an boilerplate rating of eight.00/10. The website'south critical consensus says, "Elle finds managing 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 7-infinitesimal continuing ovation at its Cannes Film Festival international premiere.[41] Leslie Felperin of The Hollywood Reporter called it "the well-nigh empowering 'Rape Flick' ever made," and wrote, "Paul Verhoeven's film well-nigh a woman's complicated response to being raped will describe ire from feminists and others, but it'south ane of the bravest, nigh honest and inspiring examinations of the subject ever put onscreen."[42] Stéphane Delorme of Cahiers du cinéma wrote the picture show was "a hitting render for the Dutchman. Nosotros didn't cartel dream of such an audacious, generous film."[43] Guy Order of Multifariousness said, "Isabelle Huppert might exist our best living actor, and Elle might be Paul Verhoeven's best film."[44] [45] Eric Kohn of Indiewire described it every bit a "lighthearted rape-revenge story."[46] Hashemite kingdom of jordan Mintzer of The Hollywood Reporter called the motion-picture show a "tastefully twisted mid-to-late-life crisis thriller that'due south both lasciviously dark and rebelliously light on its feet" and added that Verhoeven and Huppert "combine their talents to make a flick that inappreciably skimps on the sexual practice, violence and sadism, yet ultimately tells a story about how one woman uses them all to fix herself gratuitous."[47] Jason Gorber of Twitch Film idea the film was "a masterwork by a primary filmmaker, while Huppert'southward operation reminds the globe once again what a treasure she is."[48] Ben Croll of TheWrap believed the moving-picture show was "riotously funny, and Isabelle Huppert has never been better."[49]

Christopher Hooton of The Contained said information technology was "Cannes' just existent high signal."[50] Xan Brooks of The Guardian found the picture show "utterly gripping and endlessly disturbing" and wrote, "Isabelle Huppert delivers a standout performance as a woman turning the tables on her assailant in the controversial manager's electrifying and provocative comeback."[51] Lisa Nesselson of Screen International found that Huppert'south "self-bodacious-and-aloof register is a perfect fit with Verhoeven's taste for far-fetched human behaviour presented as plausible," and described the film equally "suspenseful and unsettling from outset frame to terminal."[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 moving-picture show "might only be the most Paul Verhoeven film yet, due to its willingness to button buttons, explore transgressive territory and take constant delight in venturing where the vast majority of filmmakers would fearfulness to tread" and predicted, "It's a picture show that will inspire argue for decades to come."[54]

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

Top ten lists [edit]

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

  • 1st – Ignatiy Vishnevetsky, The A.V. Club
  • 1st – Brian Formo, Collider
  • 1st – Sean Axmaker, Parallax View
  • 1st – Michael Snydel, RogerEbert.com
  • 1st – Lisa Nesselson, Screen International
  • 2nd – Cahiers du cinéma
  • 2nd – The Picture show Stage
  • second – Nicholas Bong, Ioncinema.com
  • 2d – Dennis Dermody, Paper
  • 2nd – Screen Anarchy
  • 2nd – Lee Marshall, Screen International
  • 2nd – Simon Abrams, RogerEbert.com
  • second – Danny Bowes, RogerEbert.com
  • 2nd – Seongyong Cho, RogerEbert.com
  • 2nd – Peter Sobczynski, RogerEbert.com
  • tertiary – Aubrey Page, Collider.com
  • third – The Guardian
  • 3rd – Sheila O'Malley, RogerEbert.com
  • 3rd – Fionnuala Halligan, Screen International
  • 3rd – Calvin Wilson, St. Louis Post-Dispatch
  • 4th – Marjorie Baumgarten, The Austin Chronicle
  • 4th – Matt Prigge, Metro US
  • fourth – Andrew Wright, Salt Lake Urban center Weekly
  • fourth – Stephanie Zacharek, Time
  • fourth – Screen International
  • fifth – Mick LaSalle, San Francisco Chronicle
  • 5th – Gregory Ellwood, The Playlist
  • 5th – Ben Kenigsberg, RogerEbert.com
  • 5th – Slant Mag
  • 6th – Peter Debruge, Variety
  • 6th – Todd McCarthy, The Hollywood Reporter
  • 6th – John Waters, Artforum
  • sixth – Alison Willmore, BuzzFeed
  • sixth – Nick Schager, Esquire
  • 6th – David Hudson, Fandor
  • 6th – Movie Mezzanine
  • 6th – Tina Hassannia, RogerEbert.com
  • 7th – Mark Olsen, Los Angeles Times
  • 7th – Steven Erickson, RogerEbert.com
  • 8th – Katie Rife, The A.Five. Guild
  • 8th – Stephen Holden, The New York Times
  • 8th – Patrick McGavin, RogerEbert.com
  • 8th – Erin Whitney, ScreenCrush
  • 9th – Melissa Anderson, Artforum
  • 9th – Issue of Sound
  • 9th – Ben Barna, Nylon
  • 10th – A. O. Scott, The New York Times (tied with Things to Come up)
  • 10th – Bill Stamets, RogerEbert.com
  • Top 10 (listed alphabetically, not ranked) – Walter Addiego, San Francisco Relate

Accolades [edit]

On 26 September 2016, the National Center of Cinematography and the moving image selected Elle as the French entry for the All-time Foreign Linguistic communication Film at the 89th Academy Awards.[58] When the Academy of Motion Pic Arts and Sciences appear a shortlist of 9 pictures competing for the category on 15 December 2016 that did non 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 motion-picture show became "one of greatest Oscar Foreign Language Movie Snubs of best."[64]

Notes [edit]

  1. ^ Tied with Annette Bening for 20th Century Women
  2. ^ Tied with Natalie Portman for Jackie
  3. ^ Tied with Yorgos Lanthimos for The Killing of a Sacred Deer
  4. ^ Tied with Things to Come
  5. ^ Tied with Ruth Negga for Loving

Run into too [edit]

  • Listing of submissions to the 89th Academy Awards for Best Foreign Language Moving picture
  • List of French submissions for the Academy Award for All-time Strange Language Flick

References [edit]

  1. ^ Lodge, Guy (21 May 2016). "Film Review: 'Elle'". Variety . Retrieved xix February 2017.
  2. ^ Lermercier, Fabien (15 April 2015). "Paul Verhoeven, a Frenchman by adoption". Cineuropa . Retrieved one September 2016.
  3. ^ "Elle". Box Role Mojo . Retrieved 10 June 2017.
  4. ^ Astrid De Larminat (14 November 2012). "Philippe Djian, prix Interallié". Le Figaro (in French). Retrieved two March 2017.
  5. ^ a b Cannes reception:
    • Lodge, Guy (21 May 2016). "Cannes Film Review: 'Elle'". Diverseness . Retrieved 25 May 2016.
    • Mintzer, Hashemite kingdom of jordan (21 May 2016). "'Elle': Cannes Review". The Hollywood Reporter . Retrieved 25 May 2016.
    • Brooks, Xan (21 May 2016). "Elle review: Paul Verhoeven's brazen rape revenge comedy is a unsafe please". The Guardian . Retrieved 25 May 2016.
    • Nesselson, Lisa (21 May 2016). "'Elle': Cannes Review". Screen International . Retrieved 25 May 2016.
    • Nordine, Michael (22 May 2016). "'Elle' Review Roundup: Paul Verhoeven'south Controversial Return Draws Universal Acclaim For Isabelle Huppert". Indiewire . Retrieved 25 May 2016.
    • McCarthy, Todd (23 May 2016). "Cannes: A Fest of Few Lows, But Only I Existent High". The Hollywood Reporter . Retrieved 25 May 2016.
    • Chèze, Thierry (21 May 2016). ""Elle": Paul Verhoeven et les limites morales de nos sociétés". L'Express (in French). Retrieved 25 May 2016.
    • Delorme, Gérard (21 May 2016). "Cannes 2016 : Elle marque le retour gagnant de Paul Verhoeven". Premiere (in French). Retrieved 25 May 2016.
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  7. ^ Chauvin, Jean-Sébastien; Delorme, Stéphane (October 2015). "Fifty'ironie est un art perdu: entretien avec Paul Verhoeven". Cahiers du cinéma.
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  20. ^ van Dorp, Michael (6 February 2015). "Verhoeven schrapt scène vanwege Charlie Hebdo". Veronica Mag. Archived from the original on 8 Dec 2015. Retrieved 2 December 2015.
  21. ^ "Isabelle Huppert, un nouveau rôle "fémininement" wrong". Mairie de Saint-Germain-en-Laye. calameo.com. March 2015. Retrieved 2 December 2015.
  22. ^ Vishnevetsky, Ignatiy (x November 2016). "Paul Verhoeven on trusting actors and crew to nail Elle's tricky tone". The A.V. Social club . Retrieved five February 2017.
  23. ^ Bénédict, Sébastien (24 Apr 2015). "PAUL VERHOEVEN : LA CHAIR ET LE SANG (DU CHRIST)". Chronic'art . Retrieved 28 Nov 2015.
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  25. ^ a b c Hopewell, John (13 May 2015). "Cannes: Paul Verhoeven Sees 'Elle' every bit Nuanced Thriller (EXCLUSIVE)". Variety . Retrieved 28 Nov 2015.
  26. ^ "Isabelle Huppert : "Il y a toujours des choses un peu dures à avaler chez Verhoeven"". www.premiere.fr . Retrieved 20 March 2022.
  27. ^ "Elle Soundtrack (Anne Dudley) - Sony Classical (2016)". Picture Music Site . Retrieved 4 Jan 2017.
  28. ^ Davis, Edward (sixteen January 2016). "Watch: First International Trailer From Paul Verhoeven's Thriller 'Elle' Starring Isabelle seHuppert". Indiewire . Retrieved 16 Jan 2016.
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  30. ^ Debruge, Peter; Keslassy, Elsa (xiv April 2016). "Cannes 2016: Pic Festival Unveils Official Selection Lineup". Variety . Retrieved 14 Apr 2016.
  31. ^ Newman, Nick (27 April 2016). "New Images from Cannes Titles Past Paul Verhoeven, Bruno Dumont, Park Chan-wook, Cristian Mungiu & More". TheFilmStage.com . Retrieved 27 April 2016.
  32. ^ Lang, Brent; Keslassy, Elsa (xi May 2016). "Cannes: Sony Pictures Classics Buys Paul Verhoeven'southward 'Elle' (EXCLUSIVE)". Variety . Retrieved 11 May 2016.
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External links [edit]

hootenaniced.blogspot.com

Source: https://en.wikipedia.org/wiki/Elle_(film)

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