Chloe follows the story of Catherine and David, a married couple whose marital duties have watered down through the years due to parenting and occupational matters. David is a chronic flirt, and this makes Catherine uncomfortable to the point she suspects he might cheat on her with other women for his obvious enticing interactions with them. Catherine hires a mistress, Chloe, to tease her husband and see if he gives in, to at last assure if David does involve himself in a love affair. This undertaking forces Catherine to realize her inner motives and truly find what she lacks while discovering the severe power words have over actions.   

Amanda Seyfried really proves herself as a credible actress in Chloe. Her role as the title character pushes her regular roles forward by challenging her to become a complex impersonation of manipulation, confusion, frustrations and obsession. Seyfried’s acting ability seemed pedestrian and trivial since her appearance in Mean Girls as a supporting role, but recent involvement in higher caliber films have really refined her on-screen guise. Seyfried is certainly a star in ascension. Her role in Mamma Mia! was already a hint of what was to come in Seyfried’s career.

Julianne Moore fits the role of the possessive wife who suspects from a very charismatic husband (Liam Neeson) who happens to be a natural womanizer, something Moore’s character won’t accept. The connection there is between Moore and Seyfried on screen is beyond words, genuine and intense. Moore really conveys her anguish and confused state of mind most proficiently.

The idea for Chloe (which is based on a screenplay by Erin Cressida Wilson and Anne Fontaine) is timeless and unusually creative. Characteristically in drama films, there has to be some sort of romantic struggle, but the struggle presented in Chloe is unconventional and shows a different side to sexuality and attraction. It brings something other movies have covered superficially, in order not to risk the content of the film and avoid alienated audiences. Chloe despite its evenhanded sexual nature and partial nudity, it keeps it classy it almost makes it up for incredible art, visually speaking.

The camera work is amazingly convincing and mesmerizing, basing oneself on the fact of the recurrence and use of mirrors to display particular scenes in the film, such as when one is introduced to Chloe, the character.

Chloe herself develops through the representation of mirrors, suggesting the duality of the character. It is interesting to note how Chloe is introduced, reflected, revealed through mirrors and redeemed in the transparency of crystal, when she is obliged to accept the unlikely fulfillment of her fixated desire.

Chloe is fantastic, for the unexpected turn the plot takes when ‘things are falling into place’ towards the film’s closure, its plausible references and foreshadow depictions of mirrors, and the story seen through crystal to represent Chloe’s influence-play on Catherine (Moore); the film is erotic and psychologically powerful as it boggles the psyche of Moore’s character.

Atom Egoyan, the director, displays a lot of initiative, artistic vision, passion and skill in Chloe; thumbs up.



Preview Chloe below!