To say that Oliver Assayas’ most recent effort, Demonlover, is a high tech corporate thriller would be an understatement. Aside from the typical office intrigue and cutthroat characters, the movie places added importance on visuals, seamlessly uniting content and style. The result is in a new type of film, specially tailored for the image-obsessed digital age.
Demonlover starts off by remaining faithful to the motto from which all tales of business are born; profits are to be maximized at any cost. Lies, blackmail, sabotage, and double agents are all devices employed by competitors to deter a highly lucrative distribution deal between two corporations, one French and one Japanese. Ice queen Diane (Connie Nielsen) is in charge of negotiations for the French company, a work setting that puts new meaning to the phrase “sharks in the water.” Far from being the protagonist, Diane is a typical player in the world of Demonlover, severely lacking in both morals and emotion. Other key players include fellow suit Herv