आलोचक समीक्षाएं

This delectable entertainment is as surprising for its continually evolving (and involving) dynamics of desire as for its slow-building emotional power.

A delectable riff on transformation, desire and sexuality that blends the heightened reality of melodrama with mischievous humor and an understated strain of Hitchcockian suspense.

The filmmaking is exemplary but most impressive of all is the tone that mixes comedy, melodrama and darkness.

What makes The New Girlfriend special is that is has something to say about sexuality (feminine, masculine, gay, straight, and everything in between – it’s complicated).

The tone wavers between psychological thriller and absurdist melodrama, and perhaps suffers for not settling on either, but it’s grounded by two terrific leads.

François Ozon and the late Ruth Rendell is a great match of sensibilities: it promises the French director’s winking subversion, wedded to the late crime writer’s slippery command of psychological twists.

With his trademark subversive playfulness and delight in human foibles, Ozon weaves together comedy, suspense and occasional intimations of darker emotional themes, aided by subtly gauged performances from his two principals.

Ozon sacrifices his sharp portrayal of grief and rebirth to clumsy convention.

François Ozon is never willing to fully engage with the ridiculousness of his material, resulting in an uneasy mix of wry distance and unearned emotion.

The concept of the film could have been played several different ways, from farce to high-drama to Hitchcock-ian thriller. Ozon decides to try it all, but in the end doesn’t pull off any.