It opens with a murder, then a denial, finally a confession. Wealthy theater producer Montferrand (Jean-Christophe Bouvet) forced himself on Madeline (Nadia Tereszkiewicz), who shot him with his own revolver. All she did was go looking for a job, and he tried to make her his “mistress.” But then the police come around asking questions, and Madeline confesses. She has no money, no marriage prospects, and owes her landlord five months of back rent. Prison would be preferable to this.

But then, a twist of fate! Pauline (Rebecca Marder), Madeline’s close friend and lawyer, uses the case to expose the hypocrisy of French male society and Madeline becomes a cause de celeb. She’s acquitted of the charge, and her press fame brings her actual fame on the stage and silver screen. All seems to be going well, and then the real killer of Montferrand enters.

The Crime is Mine from filmmaker François Ozon is as playful as those twists. The movie moves at a breakneck pace, never stopping to take itself seriously, even though what it says about male and female roles in society, fame, and wealth is pretty spot on.

But where others might be didactic, Ozon opts for farce, continually twisting the plot and character motivations until all are laid out and glaringly basic. I think that’s the point, though the dénouement is a letdown considering how well the setup is constructed.

The Crime is Mine (2023)
Directed by François Ozon
Screenplay by François Ozon, Philippe Piazzo
Based on the play by Georges Berr, Louis Verneuil
Produced by Eric Altmayer, Nicolas Altmayer
Starring: Nadia Tereszkiewicz, Rebecca Marder, Isabelle Huppert, Fabrice Luchini, Dany Boon
Cohen Media Group, Not rated, Running time 102 minutes, Premiered Jan. 21, 2023 at Festival Premiers Plans d’Angers

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