A Perfect Enemy

Baseado no romance fantástico The Enemy's Cosmetique, transformado quase em um terror psicológico, principalmente no terceiro e derradeiro ato, o que nos leva aos êxtase da insanidade, bem como de seus protagonistas, produzido a trés mãos hispano-alemã-francesa, com uma fotografia alegre e colorida entrecortados com um drama relatado sombrio, roteiro ágil e inteligente, vai nos envolvendo e cativando como a jovem amalucada e conflituosa de cabelos loiros e meias listradas, excelente...

I thought the acting was great. The storyline needed some work though IMO.

Didn't make sense until the end. I really didn't see it coming. I had guesses, but I was off. Good way to pass a lazy afternoon.

I enjoyed it. Kept my attention. Good actors.

Perfect Enemy dives bravely into the abyss of it's subject passing the shallows known before and emerge victorious with a satisfactory but unsettling revelation. Flawless realistic performance by cast the entire time nails it at manifesting the perfect beast in holy robes.

A tense, if predictable, thriller with compelling direction and visuals.

no me termino de convencer 4/10

It was not good. To mental and crazy

I am not sure what the ending meant but this is not a movie I figured out before it was over.

Did you ever meet a creepy stranger in a public place who insisted on talking to you? That's what happens to Jeremiasz Angust (Tomasz Kot) in "A Perfect Enemy." Angust is a renowned architect, lecturing in Paris. After the lecture, his driver is hurrying to get him to the airport, and a blonde girl in her 20's comes up to the car window and begs for a ride to the airport because she can't get a cab. She is Texel Textor (Athena Strates), an extremely chatty young lady from Holland. A few blocks down the street, she realizes that she left her suitcase in a doorway, so the driver has to turn around to get it. As a result, Jeremiasz is late for his flight, so he goes to the VIP lounge to wait for the next one. Textor appears and begins chatting him up again. This time, the chat is not small talk. She tells him her abbreviated life story in three parts, the second and third of which include two murders that she committed. Jeremiasz is dubious, but he listens anyway. As Textor recites her tales, we see them in gruesome flashbacks. We're not sure if she's telling the truth or lying. I hesitate to reveal much more. Suffice it to say, things get weird. In the VIP lounge, a small-scale architectural model of the airport (which Jeremiasz designed) mysteriously has puddles of blood on its floor. Textor follows Jeremiasz into the men's room and scrapes the floor with a sinister looking knife. Jeremiasz is also in a couple of the flashbacks. My instinct in such a situation would be to get away from this weird stranger, but Textor, attractive and pixie-like, with exaggerated eye makeup, has a way of holding Jeremiasz' (and our) attention. She's petulant, immature, annoying, and downright strange. We feel absolutely no sympathy for her, yet we somehow can't ignore her. "You're insane," says Jeremiasz." You need a therapist." Textor replies, "Why would I go to a therapist when airports exist? If you're thinking that this film is bonkers, you are correct. The silliness of it, filmed and acted so seriously, is disconcerting. I couldn't stop watching in spite of my skepticism. This is a dialogue-heavy film, and bits of the acting are unnatural and awkward. And the reveal two thirds of they way through will have viewers rolling their eyes in disbelief. The rest of the movie descends into "throw your credulity out the window" territory. Actually, that's an understatement. But in spite of its absurdity, damned if it didn't keep me watching. Sometimes, the ridiculous can be entertaining.