With Visions, Yann Gozlan, who has already made a name for himself with his highly effective thrillers, offers a new tale on the borderline between psychological drama and mental suspense, co-written with Michel Fessler. The film stars Diane Kruger as Estelle, an airline pilot with a stable, controlled career path, whose equilibrium is upset by an unexpected encounter with a woman from her past, played by Marta Nieto. Between fantasy and reality, Mathieu Kassovitz plays her husband, a reassuring figure whose presence gradually cracks as Estelle's world is turned upside down.
Visions will be broadcast on Canal+ on Saturday, April 12, 2025 at 9:06pm.
Synopsis: Between long-haul flights, Estelle leads a perfect life with her loving, protective husband Guillaume. One day, by chance, in an airport corridor, she crosses paths with Ana, a photographer with whom she had a passionate affair twenty years earlier. Little does Estelle know that this reunion will send her into a nightmarish spiral, turning her life upside down and irrational...
Visions seems to appeal to viewers drawn to psychological intrigue, where intimacy becomes a terrain of confusion and danger. The film plays with perceptions and memories, in an atmosphere akin to Black Swan or Gone Girl, where we don't always know what's real anymore.
This thriller might suit an adult audience in search of emotionally tense stories, driven by elegant direction and mounting tension. Diane Kruger's performance in an ambivalent, tormented role, and the silent confrontation between the characters, herald a profound exploration of psychic and emotional rifts.
Between ancient passion, emotional vertigo and descents into the unconscious, Visions offers a breathless psychological thriller where every detail counts. Yann Gozlan continues his exploration of mental turmoil and pretense with a solid cast and an immersive tale for fans of sophisticated suspense.
Our verdict on Visions:
With a five-star cast serving up a Hitchcockian thriller, Yann Gozlan's new project has all the makings of a seductive film. All too quickly, the filmmaker ends up bogged down in his own mysteries, and fails to hook the viewer. His ambition was immense: to make a thriller that was as much Hitchcock as David Lynch (several shots are reminiscent of Lost Highway), with a convoluted script that takes the form of a game of trails where the latter are constantly blurred. It could have been exciting, but it takes too long to set up, repeats itself a lot and resolves itself with too many clogs. And the initial aim of stunning the viewer with the virtuosity of the final twist ends up falling flat.
The whole thing is horribly lacking in subtlety, but fortunately the form is far more interesting than the content. In terms of pure direction, Yann Gozlan reaches the pinnacle of his art. By placing the action in a dream setting (an unassuming cove in the south of France), and by paying extreme attention to the framing and camera movements, the filmmaker attracts the viewer's eye and delights lovers of beautiful images. In fact, the film will appeal to fans of mysteries and beautiful pictures.
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