Although not yet thirty, Diane has a high level job working for a multinational corporation run by Henri-Pierre Volf. In the logic of the diversification of its activities – from real estate to clothing design – the Volf Group is negotiating the acquisition of TokyoAnime, a Japanese company which produces a new form of manga, and its pornographic version, hentaï, in digital 3D images that will outdate and destroy the competition in this extraordinarily lucrative market. Two companies, Mangatronics and Demonlover, battle to obtain exclusive distribution rights to Volf’s new images on the Web. Mangatronics has recruited Diane as a kind of industrial spy to serve its interests by torpedoing the Demonlover contract from within. Should the links between Demonlover and various violent and illegal pornographic sites become known, they would dangerously weaken its relationship with the Volf Group, unaware of the existence of these secret sites. Diane discovers that the sites’ spies – in the form of her seemingly neutral, naive colleagues – have also infiltrated the Wolf Group, which in turn has its own spies keeping tabs. Her increasing knowledge makes her a danger to Demonlover. Soon there is no way out, except to be absorbed into cyberspace, of which she was perhaps already a part right from the start.
In the ’90s Olivier Assayas emerged as one of the key figures in the new generation of French filmmakers. As a former critic for Cahiers du Cinema and a die-hard cinephile, he makes his films both personal and referential to the works of directors that he adores. His father was a director/screenwriter in the 1940s who later worked mainly for TV. When it was increasingly difficult for him to work because of a health condition, Olivier started to help him, first merely as a secretary, and then ghostwriting a few screenplays for the Maigret TV series. In the late 1970s he joined the team of influential film magazine Cahiers du Cinema, that once launched the French New Wave. While working for Cahiers he wrote essays on his favorite European filmmakers, Robert Bresson, Ingmar Bergman, Andrei Tarkovsky, and published extensive studies on American horror films and Hong Kong Cinema (the latter came out long before Hong Kong cinema became fashionable with Western filmgoers and critics). He collaborated… read more
for the first hour or so i was thinking it was pretty good; a numb, transnational, gibsonian corporate espionage sort of like code 46, though more nihilistic where the latter was idealistic. however, it all just got weaker and weaker as it went on, and collapsed into total incoherence. i think everybody saw the ending coming nearly an hour in advance.
With a 48% on Rotten Tomatoes and a 5.7 on IMDB I realize its gonna be a challenge to spark your interest in this movie but just hear me out. Olivier Assayas is one of the most versatile directors… read review