There was a period of time from around 2000 to 2012 when it seemed like every major French movie that received distribution in the U.S. featured Isabelle Huppert as the female lead. Did she have some kind of special deal with the import/export office? Couldn’t Miou-Miou, Natalie Baye, Isabelle Adjani, Fanny Ardant or some other French actress close to the same age get some equal representation? Don’t get me wrong. Huppert’s talent as an actress is indisputable and she probably deserved the Best Actress Oscar for her go-for-broke performance in The Piano Teacher (2001), which received zero nominations from the Academy.
It’s also heartening to see any actress past the age of fifty getting steady work and not being relegated to a supporting role as the mother or grandmother of the 20-something female lead. No, the issue here is overexposure (Catherine Deneuve had the same problem for years). More importantly, Huppert often seems drawn to variations of the same edgy, extreme character in film after film which can get monotonous if you happened to see her consecutively in Ma Mere (2004), Les Soeurs Fachees (2004) and Gabrielle (2005). Not a hard feat to do since she averages anywhere between one to three movies a year. So, it was with some trepidation that I approached Private Property (2006, French title: Nue Propriete), by Belgium director Joachim Lafosse with – who else? – Isabelle Huppert in the lead. And once again she’s playing a neurotic and difficult character but there’s something quite different about this one.Continue reading