Éliane and Juliette share a suburban pavilion which shelters their love affair. One day, Éliane picked up an injured man in her car: Pierre, a mobster who had just escaped. She decides to hide the fugitive in the house, then heals his wounds. While Éliane soon succumbs to the gangster's charm, the latter discovers that Juliette has a lover, Gérard. Pierre then uses this situation to his advantage to sow discord between the two women and manipulate them as he pleases. But they will rebel (Le Chat Qui Fume).
There were too many irrelevant parts that could have been shortened, and too many characters that didn't advance the plot. Either way, some things didn't add up. This was just another played out plot with little, if any, originality in it. By the end of the film, I wasn't happy that she finally got her freedom, I was happy that it was finally over.
A bumpy journey about revolution and family makes us feel fear, disgust, humor, and satisfaction.
Considering the runtime, I expected each scene to hit harder as opposed to a series of montages and vignettes.
Netflix’s new mystery thriller, The Marked Woman (released originally as La Desconocida), is confusing. More critically, though, it commits the worst mistake a movie can make: it’s boring. From Spanish director Gabe Ibáñez, the film squanders its premise at every turn, fills the story with unlikeable characters, and lacks emotional payoff.
As one of the women said in the film, friendship in your teens is “as important as any lover” and it’s clear they lived that philosophy throughout their early adult lives as well.
Treated like a granter of wishes for those earning out of retelling the same tragedy, Marilyn looks like she's caged in different stages of trauma for us to stare at, instead of someone we’ve finally allowed to rest in peace.
