Isabelle Huppert definitely likes to work. If you are in a project like Thierry Klifa's "The Richest Woman in the World" between roles that may win her title, why do you raise the "Our Greatest Actress" page on the "Our Greatest Actress" page on the "Our Greatest Actress" page? Again, maybe it's a self-fulfilling prophecy: This stupid drama of decline is based on the 2010 Bettencourt incident involving the heiress of the L'Oreal Empire while feeling herself at the same time under Hupperter and completely surrounding her. The fun it generates is simply due to watching the actress’ swan without breaking sweat, rather than characters tailored to her specifications, like the expensive fashion outfits of costume designers Jürgen Doering and Laure Villemer.

Mariannefarrère (Huppert) is awakened from her bed by police raiding her mansion. After a moment she looked great (perhaps the successor to the huge cosmetic empire, she fell asleep with lipstick), and there was nothing she could do to stop them from taking over assets and arrest Pierre-Alain (Laurent Laurent Lafitte) of her home recruiting. Preface, we initiated the launch in time to explore how suddenly bringing the fortress of such high-level society to such a low level, by Marianne's Glum daughter Frédérique (Marina Foïs, under a strangely heavy-haired helmet).

There, Marianne first meets photographer and failed artist Pierre-Alain. Pierre-Alain is a self-obsessed playboy who, in cat fights, often turns to a downright catty crime, is an obvious, actually self-promoted golden nail, while Lafitte is exaggerated and almost immediately irritated. A man who is not subject to his ruthless grandeur is Marianne, who is first and then conspiracy, who treats him as an unruly pet. Marianne knew that Pierre-Alain was gay (he had a long-time life lover). But no matter what, they are trapped in unpleasant, shared-dependent, platonic love. Dilettante Pierre-Alain offers Marianne a stupid marriage and this boring lifestyle that only Super Rich can afford. In turn, she gives the struggling artist money and patronage and gains unimaginable privileges.

Frédérique's relationship with his parents has never fully recovered after marrying him. The cautious Butler Jerome (Raphaël Personnaz) also implies that Marian’s husband Guy (Andre Marcon) is gay. But when Guy died, the final constraint on Marianne's behavior was with him.

The real scandal that inspired the script (co-written by Klifa, Cédric Anger and Jacques Fiesch) has a political perspective from the Sarkozozy era and is more intimate. Its fiction shifts the time period to the late 1980s and re-escalates both stocks, prioritizing the weird personal and family relationships of its (anti-) heroine over some miscellaneous references to some of Mitterand’s homeless people, and the embarrassing appearance of her late father’s Nazi tendencies. As a result, the “the richest woman in the world” turns the complexity of the true story into so much soap, and this impression gets the glossy but flat photography of Hichame Alouié. The visual strategy seems to be the most important thing to emphasize Marian’s charm, not to mention the flawlessness of the face (Huppert is a lady who knows her angles and light), which can be made of porcelain. Or- Better yet is the ivory, like she carved from giant gears.

The ultimate court case Frédérique brought French “abuse of weakness” laws, and the film also did not support the film, which reminded us of Catherine Breillat’s 2013 2013 film, which also starred in Huppert. Here, this approach is largely Netflix-Amonymous, except for the issue with the documentary (ironically, there is actually a bettencourt incident on Netflix called "billionaire, housekeeper and boyfriend"). Elsewhere, there are some more expressive booms, including cheesy close-ups of semi-prose by the author on the alphabet image read aloud, but not enough to give the film any real taste.

Instead, “The Richest Woman in the World” is primarily intended to prove Huppel’s enormous work ethic, and it is so fact that her episode of “Call My Agent” is based on her double booking while insisting on delivering on both promises. It's easy to imagine the character she's sneakily filming, between some other, more prestigious, more challenging projects, and here she gets that kind of arrogant, messy character that she can play her sleep in her sleep-something she used to get some of her sleep given how much she likes to go to work.