Audrey Tautou delivers a noteworthy performance portraying the iconic French designer, yet the film itself feels like a rather uninspired drama that focuses more on her romantic relationships than her professional achievements. Introduced as Gabrielle, having left the orphanage where she and her sister Adrienne (Marie Gillain) were raised, she finds work as a seamstress while also performing in cabarets. Her talent is evident in both pursuits, but it’s her appeal at the cabaret that attracts the attention of wealthy Baron Balsan (Benoît Poelvoorde). His influence and connections provide opportunities for this ambitious woman; however, she seems to view him more like a brother, much to his disappointment, as she develops an interest in British coal magnate Arthur "Boy" Capel (Alessandro Nivola), who agrees to finance her initial millinery business. As with many biographical stories about someone rising from poverty to success, the film spends an excessive amount of time on Gabrielle’s childhood and family background before seemingly quickly arriving at the moments depicting how she gained recognition. The development of her character as a woman feels underdeveloped, those aspects being presented briefly and hurried along, leaving much of the drama resembling a Merchant Ivory-style love triangle, with touches reminiscent of "House of Eliot," but leaning more toward soap opera than high fashion salon. Despite the overwrought script and disappointing screenplay, Tautou largely avoids missteps and manages to be believable, and there’s even a spark of chemistry between her and Nivola. It's acceptable enough, but ultimately falls short – failing to do justice to Chanel either as an individual or as a brand.

Source on TMDB