I like the storyline of this show,it attract me so much

What makes it different from others?

Purely Joyful Movie!

Good start, but then it gets ruined

A kidnapping thriller that has a dark noir side, as well as an interesting look at wealth, politics and morality. Throw in a complex family drama and a deeply flawed main character, and you have a familiar situation raised into a well above average film. Visually sharp, suffused with an intense energy, even in the quiet scenes, the kidnapping of super wealthy industrialist Stanislas Graff opens a Pandora's box of questions about the man's lifestyle; his mistresses, his gambling debts, that leave his powerful 'friends' backing away from their desire to pay to get the man back, and makes his steadfast wife question the complacency with which she has accepted how things are. The film makes the very dark point that the kidnappers, while awful and terrifying, in some ways are more honest, direct and even human than the upper-class .1% of the world that Stanislas is usually surrounded by, and is part of himself. There are weaknesses. Some of it gets repetitive, and the ending is intentionally telegraphed (why?) and not very satisfying or thought provoking. Also, in attempting to deal with so many themes, ideas and story threads (cops, the business people, lawyers, the family, the kidnap victim, the kidnappers, etc there isn't much of a chance to really dig beneath the surface of all these very intriguing characters and ideas. Stanislas' daughters, for example, are pretty much ciphers.But still a very worthwhile trip into unsettled, disturbing and questioning darkness.

I think some of my good friends here with the other reviews need to watch the film again. Some, not all.Yes, it's a somewhat slow and quiet film, beautifully shot and acted. Though supposedly of some sort of "thriller" genre it is actually a "thrillingly" excellent character study. Not the sort of example of humanity that is gratifying to see however.The main character's kidnapping and two months in captive isolation are essentially a metaphor for his own solitary confinement in his cold narcissism. He is no less his own prisoner than if he had contrived the kidnapping himself, as the police have reason to suspect.When his wife, and daughters, seek some sort of contact and contrition from him for the fact that his betrayals are now a matter of public disgrace, he quite coldly declares that it is himself alone who deserves pity and solace, and that he will explain to no one. His faithful dog is treated with more affection and care.You would naively think that his "ordeal" would effect some sort of transformation of his personality. Sorry, personalities, especially this kind, do not change so easily. He loses one of his fingers, but otherwise is intact. (Want some cheap symbolism? The finger is gone, but he easily lights up that big cigar of self-indulgence.) He knows, and we know, that the kidnappers have left him with a means not just to satisfy them with his money, but to "do the right thing" in preventing the further violent mayhem they threaten. Innocents will be killed at random. He does have the money: his shares of the company have been sold and his lawyer congratulates him for how extremely wealthy he still is. The kidnappers want their full 50 million.The film ends perfectly, I think. He sits alone in his palatial room on a regal chair, with his cigar. His wife is divorcing him, his daughters have been distanced by his coldness and empty claim of love. The "Calypso" message arrives. He sits. My understanding of his character, as it has been portrayed so consistently, is that he thinks to himself something like "that is no concern of mine."

Stanislas is a man born with luck: rich in a rich country, beautiful wife and family, CEO of his family company, chauffeur, lives in a Parisian Palace. And yet, just one false step and he ends up kidnapped, humiliated, one finger cut off, beaten, starved, and most important, devoid of all power. We learn he led a double life, lovers from different countries, an apartment he used frequently, hunting trips and... game debts. Big debts. Does the kidnapping owe to his debtors? Or is it somebody from his own circle, wanting his post? Was it a self-kidnapping, as a means to erase his debts? As hypothesis multiply, doubts flourish in his own company and family circle, and issues start to come up to the surface.Well filmed, the contrast between "civilized" rich man's life and the gritty and humiliating treatment of the kidnappers is what stroke me most of this film. How easy it is to slip from one world to the next. It happens in the best of families, in the first world too.My favourite character is S.'s politically incorrect mum, Marjorie (elegant Françoise Fabian), usually saying what everybody thinks. Maître Walser is also fine. Françoise and her grouchy daughters are correctly hateful. You may like red setters (his dog's breed) a bit more now :).Good ending.Fellow IMDb reviewer "JRlock" wrote it well: "is not easy to capture both the sympathy and contempt of the viewer in the same movie, but he did here". And Chris Knipp's insights, like how Stanislas' freedom may be illusory, how this may be a film about solitude, or what the French title sounds like, have to be read from his own bright review to be enjoyed.Not easy watching, as you probably know already, but enlightening.

The movie is very slow moving and I wouldn't be surprised if quite a few people gave up on it, being bored and all. And if you expect a high adrenaline thriller, let me tell you: Look elsewhere. You won't find it here for sure.What you will "find", is a movie that cares about characters and is very subtle. Maybe I'm reading things into it, but the sublime and underplayed changes that happened during the course of the movie are just incredible. There is not a big bang or something grandiose happening. It's in the details and the small things (acting and otherwise) that the story continues.If you can bear with it and love it for it, you will be rewarded with a very human drama. A drama that might even stay with you, after you finished watching the movie.