Mille fois bonne nuit

La première séquence du film - intense et de loin la meilleure de l'ensemble - crée une véritable osmose entre la protagoniste et le spectateur.

If I'm complaining about this movie a lot for one I'm deeming better than fair, it's because I was frustrated by how its first-rate ingredients, Binoche chief among them, somehow failed to create a spectacular end result. 

Though conversations with Rebecca's New York editor are baldly designed to up the ante, they're balanced by domestic scenes that have more chance to breathe. (...) His thoughtfully selected images -- both scenic and, in a heartbreaking instance of Steph turning the camera on her mother, dramatic -- are perfectly captured by John Christian Rosenlund's camera.

The film distinguishes itself from Hollywood-made photojournalist actioners like Under Fire, in which the movie pivots around the hero questioning his neutrality in the face of political injustice.

Parler d'un sujet dont il est trop proche peut plus handicaper un cinéaste que le servir. C'est le cas pour Erik Poppe (...) qui manque visiblement de recul (...). 

Binoche rend bien cette rage de montrer à tout prix et sa relation avec la jeune actrice Lauryn Canny qui joue son adolescente Stephanie est plausible et touchante.