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    Movie Review

    Oscar-caliber stars of female-led The 355 hold action film together

    Alex Bentley
    Jan 6, 2022 | 3:45 pm
    Oscar-caliber stars of female-led The 355 hold action film together
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    Despite many attempts, Hollywood just can’t seem to learn how to properly showcase women as leads in action movies. Even the ones that work – a Wonder Woman here, a The Old Guard there – only serve to prove the rule that most action films starring women fail to meet the standards of those featuring men.

    To be clear, this is rarely the fault of the actors, who by and large are strong and talented women who give everything they have to their roles. That’s especially true of the four main women starring in The 355 – Jessica Chastain, Lupita Nyong'o, Diane Kruger, and Penelope Cruz – who collectively have six Oscar nominations and two wins.

    The quartet, along with Chinese actor Bingbing Fan, get into the spy game, with each woman working for her respective country’s top intelligence agency. Though not a team at the beginning, they gradually come together to try to stop the release of a powerful blockchain program that can hack into any closed system in the world.

    The film, directed by Simon Kinberg and written by Kinberg and Theresa Rebeck, does the typical continent-hopping fans have come to expect of the genre, going from Colombia to Washington, D.C., Paris, London, Morocco, and Shanghai. Along the way, they lock horns with a gaggle of men whose loyalties seem to be constantly shifting, including ones played by Edgar Ramirez, Sebastian Stan, and others.

    The film is held together by the acting ability of the main group, who lend the story some gravitas even when there are elements that might make you roll your eyes. Each of them is required to say some silly things, but because all of them inhabit their roles so well, there’s rarely a moment that the dialogue takes you out of the film.

    There are some solid fight scenes, which are surprisingly not overdone or too stylized. The only qualm on this end is that even though there is plenty of action, it is filmed and/or edited in a way that lessens its impact. The PG-13 film is mostly bloodless, giving the impression of violence that they mostly don’t show.

    There are a few moments of lip service paid to try to make a few of the women into well-rounded individuals with families/boyfriends, but the scenes feel tacked on. The film also suffers from a lack of a clear villain; shifting loyalties are one thing, but never knowing whom to root against or for just makes things too muddy.

    There’s a clear hierarchy to the group, with Chastain and Nyong'o first, followed by Kruger, Cruz, and finally Fan. Still, each woman gets at least a couple of moments to shine, either through words or action. And to the filmmakers’ credit, the group feels like a true team by the end of the film, an aspect that can often be given short shrift.

    The 355, whose title meaning is awkwardly explained in the film’s final moments, winds up in the middle of the growing number of female-led action movies. While its action and story are just so-so, it has an enviable cast that might warrant a sequel based on their skills alone.

    ---

    The 355 opens in theaters on January 7.

    Diane Kruger, Jessica Chastain, and Lupita Nyong'o in The 355.

    Diane Kruger, Jessica Chastain, and Lupita Nyong'o in The 355
    Photo by Robert Viglasky/Universal Pictures
    Diane Kruger, Jessica Chastain, and Lupita Nyong'o in The 355.
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    Movie Review

    Jodie Foster brings depth and wit to French thriller A Private Life

    Alex Bentley
    Jan 30, 2026 | 9:41 am
    Jodie Foster in A Private Life
    Photo by Georges Lechaptois
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    Jodie Foster has been a member of the Hollywood community for almost 60 years, first as a child actor on TV, and then branching out into movies. She earned an Oscar nomination at the tender age of 14 for her role in Taxi Driver, and she’s gone on to be nominated five times, winning twice. Now, at age 63, she’s showing she’s still capable of surprises by fluently speaking another language in the French film, A Private Life.

    Foster plays Lilian Steiner, a psychiatrist who sees patients out of her Parisian apartment. When she learns of the death of one of her patients, Paula (Virginie Efira), she’s sad but otherwise unaffected until a few suspicious things start happening. This includes the robbery of her apartment, in which a recording of Paula’s last session with Lilian goes missing.

    With the help of her ex-husband, Gabriel (Daniel Auteuil), Lilian becomes an amateur private detective, tracking the movements of Paula’s husband, Simon (Mathieu Amalric), whom she increasingly suspects of murder. At the same time, Lilian must navigate a tense relationship with her son, Julien (Vincent Lacoste), along with an unexpected rekindling of romance with Gabriel.

    Written and directed by Rebecca Zlotowski, and co-written by Anne Berest, it is a psychological thriller that at times feels like an Inspector Clouseau movie. With little to go on but her own perhaps misguided suspicions, Lilian digs herself deeper into a situation of her own making. And she further clouds her mind by indulging in a tryst with Gabriel, who’s all too eager to help Lilian pursue her criminal theories. While the film is not a comedy, there are elements of humor that pop in to keep the story light.

    Zlotowski plays with the competing tones of the story well, keeping viewers on Lilian’s side even as she indulges in things that might not be the healthiest for her. Lilian’s various eccentricities - an adherence to recording on old-fashioned mini discs instead of fully digital, keeping an emotional distance from her son and grandson - make her a fascinating character whose vacillating motivations keep viewers guessing as to what she’ll do next.

    In a lot of ways, the film is a study of how Lilian needs to try to find ways to heal herself. The possibility of Paula being murdered wakes Lilian up to the idea that she has not been as attentive a doctor as she should be. The sessions with different patients that Zlotowski shows give the impression that there’s a general level of dissatisfaction with her, with one patient outright breaking up with her.

    Foster is no less compelling speaking mostly in French than she is in English language movies. Her fluency is never in doubt, and she fits in seamlessly with the actual French actors in the film. Auteuil is a fun counterpart for Foster, showing an unexpected chemistry with her that keeps their scenes crackling with energy. Amalric, a Wes Anderson favorite, has a relatively small role but still stands out when he gets a chance.

    A Private Life is not the type of thriller that American audiences might be used to, but its slow, methodical storytelling and subtle humor make it an interesting watch from beginning to end. The film is not up for any awards, but Foster’s performance shows she remains a top-tier actor.

    ---

    A Private Life is now playing in select theaters.

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