
In Lausanne, the aspirant pianist Jeanne Pollet has lunch with her mother Louise Pollet, her boyfriend Axel and his mother. Lenna leans that when she was born, a nurse had mistakenly told to the prominent pianist André Polonski that she would be his daughter. André has just remarried his first wife, the heiress of a Swiss chocolate factory Marie-Claire "Mika" Muller and they live in Lausanne with André's son Guillaume Polonski. Out of the blue, Jeanne visits André and he ... (Full plot summary below)
Enjoy FREE movies and series with your Prime (USA) subscription or when you start a 30-day free trial!
Links compiled using automated software. Availability of offers subject to change / might be region specific / out of date.
In Lausanne, the aspirant pianist Jeanne Pollet has lunch with her mother Louise Pollet, her boyfriend Axel and his mother. Lenna leans that when she was born, a nurse had mistakenly told to the prominent pianist André Polonski that she would be his daughter. André has just remarried his first wife, the heiress of a Swiss chocolate factory Marie-Claire "Mika" Muller and they live in Lausanne with André's son Guillaume Polonski. Out of the blue, Jeanne visits André and he offers to give piano classes to help her in her examination. Jeanne becomes closer to André and sooner she discovers that Mika might be drugging her stepson with Rohypnol. Further, she might have killed his second wife Lisbeth.
Leave your thoughts about Nightcap.
| Combustible CelluloidJeffrey M. AndersonCredit Huppert as much as Chabrol for the film's success. |
| Slant MagazineEd GonzalezClaude Chabrol's camera has a way of gently swaying back and forth as it cradles its characters, veiling tension beneath otherwise tender movements. |
| The New RepublicStanley KauffmannWe can rejoice that he carries on, breathes his profession as his native air, makes pictures of varying quality but persistently makes them. |
| Planet Sick-BoyJon PopickHuppert's show to steal and she makes a meal of it, channeling Kathy Baker's creepy turn as the repressed mother on Boston Public as much as 8 Women's Augustine. |
| Seattle Post-IntelligencerPaula NechakThis bloodless, nuanced little thriller carries small weight save for Huppert's enigmatic, thrifty performance. |
| San Francisco ChronicleEdward GuthmannMerci Pour le Chocolat has a restraint and rigor that we don't see in commercial American films, the kind that a director creates when he has no interest in sentimentality or in soliciting the audience's favor. |
| Chicago Sun-TimesRoger EbertIsabelle Huppert has the best poker face since Buster Keaton. She faces the camera with detached regard, inviting us to imagine what she is thinking. |
| San Diego MetropolitanJean LowerisonThis is not Chabrol's best, but even his lesser works outshine the best some directors can offer. |
| Boxoffice MagazineKevin CourrierChabrol has taken promising material for a black comedy and turned it instead into a somber chamber drama. |
| Film Journal InternationalErica AbeelChabrol brilliantly conjures menace from the everyday and familiar. |