From acclaimed French filmmaker François Ozon (_Sous le sable_; _8 femmes_; _Frantz_), _L'amant double_ [_Double Lover_] functions as an exploration of sexual obsession, a dreamlike mystery reminiscent of Neil Jordan’s _In Dreams_, and also incorporates elements of a conventional thriller—though more focused on “whoisit” than “whodunnit.” "Freely adapted" from Joyce Carol Oates's 1987 novel _Lives of the Twins_ (written under the pseudonym Rosamond Smith), with a screenplay by Ozon and Philippe Piazzo, the story centers on Chloé (Marine Vacth), a woman experiencing instability in her mental state, who develops an intense passion for her psychoanalyst, Paul (Jérémie Renier). Within months, she’s living with him; however, as time passes, she begins to uncover a significant secret he's been keeping from her. If one were to imagine _Vertigo_ (1958) being reworked by directors such as Gaspar Noé or Lars von Trier, that would offer some insight into Ozon’s latest work—it is undeniably peculiar (the second shot of the film is literally an internal view of a vagina). As is typical with Ozon's films, the visuals are well-crafted, relying on inventive techniques like juxtaposition, pseudo split-screen effects, and frequent shots where one person appears directly in frame while the other is only visible in reflection. The sound design is also noteworthy, delivering startling jolts at times. Similarly, the performances are strong, with both Vacth and Renier nearly unrecognizable in their roles. However, the plot itself becomes a melodramatic and self-important tangle. Many of Ozon’s familiar themes appear here: an analysis of the academic elite, an examination of the contrast between how things seem and what they really are, an attempt to understand the inner workings of a complicated woman, a foundation in psychoanalysis, and the fluidity of identity. These concepts, though, are filtered through a completely absurd narrative that struggles with even the most basic elements. For example, sexuality plays a key role, but by the fourth or fifth sex scene, its impact has diminished considerably—a stark contrast to Abdellatif Kechiche's far superior _La vie d'Adèle – Chapitres 1 & 2_ (2013), where sexuality is just as central but depicted with only two such scenes. The same holds true for the increasingly outlandish plot twists; once you’ve encountered three or four and are still in the film’s first half, it becomes difficult to maintain interest. Ozon's work has always been uneven—for every _Sitcom_ (1998) and _Swimming Pool_ (2003), there’s an _Angel_ (2007) and a _Ricky_ (2009)—and _L'amant double_ ultimately proves to be a rather futile film that seems to believe it is making a profound statement about desire and identity. It does not.

Source on TMDB