18 September 2026
THE INVITE **1/2
Olivia Wilde’s “The Invite” is not as sharp or illuminating as its French predecessor, “Et Plus Si Affinités” from 2024, itself based on the Spanish film, “Sentimental” from 2020. This oft-remade tale has gone through various international transformations as an amusing and daring look at two neighbouring couples who meet for a meal. One couple is quite sophisticated and racy, while the other is especially uptight about their sexuality. It has always had the same storyline – about the downstairs couple being both disturbed and intrigued by the nightly sexual sounds coming from the upstairs couple.
So complications ensue – comedic and serious – from this first social encounter, with the couples divulging their resentments and their desires as the evening develops. This ‘huis clos’ is an interesting premise for a successful, salacious film, but obviously one that varies in mood depending on the nationality of the cast and crew.
This American version feels more prudish, jarring and vulgar than the others, except for the always scintillating Penelope Cruz. With Wilde, Seth Rogan and Edward Norton rounding off the foursome, it’s nevertheless worth a look.
LA VIE D’UNE FEMME *** (vo French)
Léa Drucker displays time and again that she is one of France’s finest actresses.
In this film she portrays, with both depth and lightness, the life of a successful surgeon who also has a symbiotic marriage and is a responsible daughter to a mother who is slowly descending into dementia.
Her life is incredibly full but routine until she meets a journalist (the sensual Mélanie Thierry) who wants to write about her career as a top medical expert. A strong attraction develops between them that shakes up her life and her feelings.
This very French film shows once again the acceptance and openness of that country’s society towards relationships. Drucker beautifully conveys the highs and lows of this woman’s experience, especially when the one area that she can’t control – her amorous emotions – rears its head. Director Charline Bourgeois-Tacquet understands well the feelings of a modern woman and handles them with both intimacy and elegance.
HISTOIRES DE LA NUIT * (vo French)
Such a messy, vicious thriller didn’t deserve to be included in last May’s Cannes competition. This tale of one night of vengeance through a home-jacking is thoroughly gratuitous, and wastes the talents of such exceptional performers as Monica Bellucci and Benoît Magimel in a scenario that is not only implausible, but also tedious. Give it a miss.
Superb **** Very Good *** Good ** Mediocre * Miserable – no stars
By Neptune
Neptune Ravar Ingwersen reviews film extensively for publications in Switzerland. She views 4 to 8 films a week and her aim is to sort the wheat from the chaff for readers.
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