‘Iris’
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In ‘Iris’ (or ‘In the shadow of Iris’ as it is known in England and therefore called by most critics) an attractive young woman stages her own kidnaping, demanding a substantial ransom from her rich banker husband. To say much more about the plot would be to spoil the many surprises in this erotic thriller who-done-it.
Most audiences and critics did not like this French movie, when it was released in 2016, and Box Office takings since then have been very low. For example a ‘Film Inquiry’ critic was dismissive, stating, ‘There is nothing new on display in In ‘The Shadow Of Iris’, and what it does offer plunges into something so disappointing that you can only consider it an unfortunate misfire’. Another criticism made was that, ‘The outline of a great thriller ultimately fades with a whimper.
In the Shadow of Iris has inklings of greatness, but it suffers from a muddled plot and some questionable casting and production choices.’
In the Shadow of Iris has inklings of greatness, but it suffers from a muddled plot and some questionable casting and production choices.’
I’m glad I did not read such reviews before we watched it on Netflix, as I liked the movie and disagree with these negative appraisals.
I liked the casting as it broke the predictable stereotypes to which we have become accustomed, and was pleased that I did not recognise any of the French actors. The actors proved most adept at portraying French mannerisms and social norms, providing material for comparisons with our society’s equivalents.
It is not a film you watch half heartedly as the storyline’s twists and turns are at times quite a challenge to follow. But it is not, as suggested, ‘a muddled plot’. The plot alone, makes the film very well suited to post viewing discussion.
This film is sexy, but not because it is graphic, but rather due to the actors, cinematography and suggestiveness. Even the kinky scenes sizzle, rather than provide cause for nervous laughter.
There is surprisingly little violence in this film, and what violence there is, seems real rather than graphic or gratuitous, and does not dominate the plot.
The street scenes of Paris, especially the ones at night, which pop up regularly throughout the film, are also absolutely stunning.
The street scenes of Paris, especially the ones at night, which pop up regularly throughout the film, are also absolutely stunning.
We found the ending satisfying as it was unexpected, plausible and avoided the anticipated and dreaded neat cliché conclusion.
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