When a heist goes awry, Laure Ash poses as a woman, stealing her identity and sets out to live a straight life while attempting to dodge two of her ex-partners out for vengeance and a photographer who wants her picture for the tabloids. I was literally stunned by DePalma’s (Carrie, Blowout) visually engrossing direction that so eloquently depicts every action of the story he is trying to tell. He is the master of the split screen which he uses to emphasize character motive and personality. At times, there were scenes so incredible, I just had to rewind and see it all over again. He pays attention to every small and seemingly adequate detail from the largest of street settings to confined spaces such as hotel rooms. One of my favorite scenes is where the character Bardo sits along his balcony top watching Ash from across the street; though he doesn’t know what he’s in for yet, he’s oddly intrigued, and another of the best scenes where Bardo fights off an aggressive pursuer of Ash where Bardo steps in begins to fight him. DePalma doesn’t show the fight except relies on sound and imagination as we watch the silhouettes of Bardo fighting off the attacker while he slowly closes in on Ashe’s face who is reacting to the entire scene like a snake watching her prey fight over her.
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