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A Perfect Enemy Reviews

An interesting adaptation of Amélie Nothomb's novel that falters towards the end, but, all in all, it's an extremely enjoyable tour de force between the protagonists. [Full review in Spanish]

Full Review | Original Score: 3/5 | Jan 17, 2023

One of those psychological thrillers that builds up so slowly that it doesn't even look like a thriller at first.

Full Review | Original Score: 3/5 | Sep 8, 2021

We knew the gimmick, deployed in recent times by film fiction magicians such as Fincher, Lynch or Polanski... the story works again. [Full review in Spanish]

Full Review | Original Score: 3/5 | Aug 16, 2021

A Perfect Enemy keeps a certain level of suspense, but too much of this psychological thriller is undone by subpar acting, dialogue that rambles, and a sluggish pace during the middle of the movie. The movie's ending is a big disappointment.

Full Review | Jul 16, 2021

Ridiculous excuse for a thriller - obvious, preposterous, ultimately banal - piles on psychological absurdities as it builds from a maddening middle to an enraging crescendo of misogynist nonsense.

Full Review | Original Score: 1/5 | Jul 15, 2021

Imminently watchable, if a slight case of style over substance.

Full Review | Original Score: 3/5 | Jul 15, 2021

Maíllo, making his English-language debut, effortlessly sustains the tension and sprinkles in some dinky visual touches...

Full Review | Original Score: 3/5 | Jun 29, 2021

Captivating performances and intriguing character dynamics drive this uneven psychological thriller.

Full Review | Jun 16, 2021

It really does work, and it really keeps you on the edge.

[A] dark, brooding little thriller about guilt and memory.

Full Review | Original Score: 3.5/5 | Jun 11, 2021

Some strange reveals in store for the viewer.

Full Review | Original Score: B- | Jun 11, 2021

A famous architect's life is deconstructed by a talkative 20-year-old woman.

Full Review | Original Score: B+ | Jun 10, 2021

Maíllo painstakingly keeps the story on course to its visceral and disturbing conclusion, despite the very ground the characters walk on becoming less reliably real in the last act.

Full Review | Original Score: B | Jun 8, 2021

there is real pleasure to be had in admiring the grand architectural design of the plotting (all reflective surfaces and multi-storied symmetries), and also in seeing all this superbly crafted mise-en-scène rendered very, very messy

Full Review | May 29, 2021

An unusual and uneven psychological drama which manages to nail the landing despite walking an unsteady path.

Full Review | May 28, 2021

The Movie Isle

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Film Review: A Perfect Enemy (2021)

A sinister encounter between an architect and an annoying stranger in the confines of an airport lounge uncovers some deeply buried secrets.  A Perfect Enemy  stars Tomasz Kot ( Cold War ) and is the first English language film from director Kike Maíllo.

A highly successful architect ends his rather self-aggrandising talk with a quote from French writer Antoine de Saint-Exupery – “ Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away ”. He then hurriedly makes his way to the airport (which he built) to escape from the city which holds difficult memories for him. Events conspire to make him miss his flight, and he finds himself killing time in the executive lounge with an extremely annoying and talkative young woman who gets in his head and whose story intertwines with the architect’s more deeply than he first realised.

But perhaps a better quotation to illustrate the story, rather than that of Saint-Exupery, would be something else which the architect says –  “A lie always needs to be repeated more than the truth to be believed ”.

Based on the novel  Cosmétique de l’ennemi  by Belgian author Amélie Nothomb,  A Perfect Enemy  is mostly a two-hander, a weird search for perfection and truth, with the story framed in lengthy exchanges between the protagonists within the confines of an airport lounge. Polish actor Tomasz Kot ( Cold War ) plays the architect Jeremiasz Angust, and Athena Strates is the improbably-named Texel Textor, the young Dutch woman he encounters. 

Strates probably has the trickier task to achieve. Texel’s moods switch swiftly and constantly; one moment she’s telling a gruesome story from her childhood, the next laughing maniacally at Jeremiasz’s response to her, or she’s threatening him in a low-key but ominous manner.  She achieves them all, and is a really unlikeable and extremely annoying character who keeps both Jeremiasz and the audience on their toes. Why does he put up with her intrusion? Why doesn’t he alert someone that she’s practically stalking him and won’t leave him alone?

The answer is simple. Despite all her grating chatter, Texel seems to have a way of getting inside Jeremiasz’s head. Kot portrays the architect as a calm, reserved man of means, the type who doesn’t want to engage with strangers in airports but is too polite to say so. Somehow though, Texel is able to burrow into buried secrets which Angust’s outward appearance keeps tightly restrained, and she eventually cracks the façade.

A Perfect Enemy  is a gratingly sinister psychological thriller and is also exasperatingly wordy, two states which seemingly contradict each other. This may belie the literary origins of the story and yet might not have been as striking if most of the actors were speaking their native language. That’s not to criticise their English or their acting at all – but having to wrangle so much dialogue in a foreign language felt as if, for Kot in particular, it was slowing him down a little. A tad more ‘show’ and a little less ‘tell’ might have been a slightly better combination all around on the part of Catalan director Kike Maíllo, whose first film in English this is.

There are some beautiful visual touches involving the model of the airport extension on display within the airport itself, featuring Jeremiasz and Texel in ever-changing poses mirroring their actual situation throughout the film which contributes to the puzzling nature of the narrative.

The audience may or may not deduce the ending in advance but it is an engaging journey nonetheless.  A Perfect Enemy  is not exactly the perfect film, but if you can handle the wordy expositions, it’s intriguing enough to spend time with – perhaps not if you’re waiting to board a plane though.

A Perfect Enemy  will be available on digital download from 5 th  July on Amazon, Google and iTunes

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A Perfect Enemy: Film Review

• Claire Fulton
• June 29, 2021

While suspenseful and intriguing, Kike Maíllo’s A Perfect Enemy is inhabited by infuriating characters that hinder the excitement towards figuring out its central mystery.

The compulsion to find out the big twist at the end is perhaps the key trait of a thriller, and the execution of said twist goes a long way in determining whether the journey was enjoyable or not. Kike Maíllo’s A Perfect Enemy crafts a suitably twisted tale , but the road to its end point is so uneven and inhabited by such a detestable main mystery that the compulsion suffers and the end result is not particularly entertaining.

Jeremiasz Angust ( Tomasz Kot ), a successful architect, is in Paris for a conference. At the end of his talk, he rushes off in the pouring rain to catch his flight, but ends up stuck in heavy traffic. A knock at the window of his cab changes the course of his entire evening, when a young woman, Texel Textor (Athena Strates), asks if she can hitch a lift to the airport. Grudgingly yet politely, Jeremiasz says yes, and listens to her strange and rambling tales throughout the car ride.

The unexpected pickup causes him to miss his flight, and so he begins a two-hour wait in the airport lounge – which, coincidentally, he designed –, when Texel reappears and continues to bug him with a strange insistence on telling him her life story.

Guilt, obsession and psychosis are key players in Maíllo’s cinematic chess game, and A Perfect Enemy uses a dialogue-heavy script to craft a central mystery that does genuinely intrigue. But Strates’ Texel is so infuriating and, for lack of a better word, cartoonish, that it makes the unfurling of the mystery frustrating to watch. The metaphor of the airport lounge being a substitute for Jeremiasz’s own head, as well as the constant talk of an ‘inner-enemy’ are effective plot devices, if a little on-the-nose and exposition heavy. The use of flashbacks is cleverly interwoven through cinematography and editing (by Rita Noriega and Martí Roca, respectively), but the character dynamics and final twist make the style better than the substance.

A Better Enemy works as a thriller in the sense that Maíllo has crafted a film that’s successful in its suspense and misdirection, with some twists tilting towards the genuinely bizarre. But there’s not a lot to root for and the frustrating central figures means that while it surprises, it doesn’t particularly entertain.

A Perfect Enemy will be available on Digital Download in the U.K. on Amazon, Google & iTunes from 5th July, 2021 .

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A Perfect Enemy Movie Review & Film Summary: Downward Spiral Into Insanity

A Perfect Enemy is a dark psychological thriller, directed by Kike Maíllo. The film is based on a French novel, The Enemy’s Cosmetique. 

A Perfect Enemy Movie Cast

• Tomasz Kot as Jeremiasz 
• Athena Strates as Texel

A Perfect Enemy Movie Plot

A Perfect Enemy revolves around a renowned architect who meets a stranger and from then on, his visit to the airport takes a crazy, maniacal turn. 

A Perfect Enemy Movie Review

A Perfect Enemy is gripping and engaging but not quite perfect. It’s a dark tale where memories create the entire horror of the situation. There are red flags since the very beginning, the situation, the stranger and the oddness of the atmosphere, and gradually, it keeps tipping a bigger domino piece and raises the stakes higher as it progresses.

The film isn’t longer than 1 hour 30 minutes yet there were times when parts felt grueling and really leaning on the performances, which were hit or miss for most part. That being said, there’s an ever engaging sense of mystery and build up in the story which takes advantage of the characteristics of the setting and the people themselves.

Jeremiasz (Played by Tomasz Kot) is a renowned architect who has thrived perfection all his life. His work is spread out across different ventures, one of the most prominent one being the Paris Airport where the entire story of A Perfect Enemy revolves. On his way he meets a stranger, drenched in rain and asking for a ride to the same airport. This girl he meets, Texel (Played by Athena Strates), has some shady intentions from the get go.

She has a personality wherein she would annoy Jeremiasz for hours talking about her story yet in her silence lies the most deadly sense of terror and fear. As they reach the airport, they are already too late and Jeremiasz misses his flight. And in that airport, unravels a mystery, in the form of an hour long therapy session.

Athena Strates is Haunting in the Best Way Possible

A Perfect Enemy is situated around a premise which heavily relies on the performances to extract that thrill out of it. And Athena Strates truly creates a character which is haunting even in her most innocent of smiles. The dynamic between Jeremiasz and Texel has a gradual progression from confused eerieness to pure hatred and disgust. They dwell into philosophies and judge each other’s characters through their own lenses.

What starts as a pretty easy demarcation between maniacal and sanity, gets muddled as we move ahead, because both the characters test each other’s patience and judging who is farther away from sanity gets increasingly complicated. The character study between the two frontrunners of A Perfect Enemy takes place through a series of different stories. The origin of Texel and her troubled childhood, to the ultimate heinous person that she has become and how that coincides with Jeremiasz is the essence of the movie and its truly enjoyable. It effectively tosses themes like lust and inhumane attraction through the minds of both the characters, and how each of these people perceive the concept of love is both far out and eerily similar at the same time.

The film is also beautiful to look at, in which it always has a grey hue and it never lets go of the darkness, even in its frames and colours. And like a good mystery, A Perfect Enemy comes with its share of metaphors which play an effective part in bringing the story forward until the reveal takes place. From a small model of the airport to the shattering of a mirror, the film constantly uses its environment to develop clues and tension of this encounter which ultimately explodes. 

There were some hiccups I had with the way A Perfect Enemy progresses because Tomasz Kot’s performance had an immense weight and there were moments when his portrayal failed in justifying the stakes of the situation. As his character developed, he changes guises and I would have loved a more honest dark portrayal rather than something which feels like it’s only halfway there. And from the suspense aspects of the screenplay, there’s a considerable fog of predictability which dominates the movie. Maybe I have had an experience in this genre, but for me, the ending sort of gave itself away during the first 20 minutes itself. But it didn’t really made me appreciate the engaging build up any less. 

A Perfect Enemy is dark, both in its aura and its visuals. Athena Strates truly makes this movie her own and it wouldn’t have felt the same without her hauntingly beautiful portrayal of a Maniacal woman. Kike Maíllo exudes finesse in his work and it is prominent in how he builds the world. If you are looking for one dark and mean mystery thriller, this will more likely than not satisfy your hunger.

The Movie Culture Synopsis

A Perfect Energy is ever enaging and hughly entertaining, and even though some performances work better than others, it does its absolute best to keep the viewer hooked throughout. Filled with crazy metaphors and environments, it is truly one dark psychological thriller.

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A Perfect Enemy ⋆⋆⋆

A dark psychological thriller whose clumsy moments don't prevent it capturing your attention. Kike Maíllo's A Perfect Enemy makes an engrossing and tense two-hander.

Kike Maíllo’s English-language debut is the adaptation of Belgian author Amélie Nothomb’s novel ‘Cosmétique de l’ennemi’, a dark psychological thriller that grips you from its eerily gorgeous opening credits. A Perfect Enemy revolves around a cat-and-mouse power game between a renowned architect Jeremiasz Angust ( Cold War ’s Tomasz Kot) and an overly chatty young Dutch woman calling herself Texel Textor (Athena Strates), who both end up missing their flights at Paris Charles de Gaulle airport. She latches onto him and verbally holds him hostage by telling him a personal three-part story, central to which is “the enemy within”, the force that causes people to “destroy everything worthwhile”. As their time together in the VIP waiting room progresses, things take a sinister and altogether more stalker-ish turn…

What unfolds is an engrossing and tense two-hander that is often reminiscent of Sleuth . It falls short of excellence chiefly due to Kot’s stiffness of delivery throughout, especially when his sparring partner is Strates, who steals the show throughout and whose smiles and laughs chill. On his side, Maíllo sustains a queasy atmosphere throughout the taut 90-minute runtime and manages to redeem initially clumsy visual metaphors by making them clues that gradually guide the viewer towards the last act’s devious little twists. These reveals work well and even if the ending may prove divisive for some, A Perfect Enemy does overcome many of its flaws to serve as a skilful adaptation of Nothomb’s novel, one whose themes of obsession, guilt, and the tortured search for perfection will stay with you long after the credits finish rolling.

A Perfect Enemy / D: Kike Maíllo (Spain, France, Germany, 2020), with Tomasz Kot, Athena Strates, Marta Nieto, Dominique Pinon. Starts: November 04.

On: Yorkshire Magazine

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A Perfect Enemy (2020) – Film Review

Director: Kike Maíllo Cast: Tomasz Kot, Athena Strates, Marta Nieto

By @Roger Crow

Movie thrillers have taught us many things over the years. ‘Never trust a stranger, either on the way to an airport or on a flight,’ is always good advice, at least in film land.

Wes Craven proved this with his offering Red Eye , which was sold as a horror film, but was actually a mid-air nail-biter with Cillian Murphy and Rachel McAdams. And a lot of fun it was too.

The latest foray into the genre is Euro thriller A Perfect Enemy , which boasts some of the best opening titles of the year.

The film centres on successful architect Jeremy Angust. He is approached on his trip to Paris by a strange young woman who will not leave him alone.

Missing his flight and trapped in the airport lounge, he is unable to get rid of the annoying stranger.

“Very elegant”

Although the meeting at first seems to be by chance, soon there is a turn that will transform the nature of their encounter into something more sinister and criminal.

Jeremy might be excellent at creating buildings, but he’s not very smart when it comes to realising he’s playing a part in someone else’s grand design.

The whole thing is very elegant, rather stagey, and I can’t help thinking it would have been better in a language other than English.

As good as the cast are there’s a stilted quality about the dialogue. It ticks over and there’s a Don’t Look Now feel about a model of the airport with a bloodstain. In the hands of the much missed Nicolas Roeg, this would have been chilling, but here it just piques the interest.

The shadow of Killing Eve also looms large over the movie. But it lacks the wit of that series, or Jodie Comer’s magnificent contribution as the psychotic Villanelle.

“Treads that mid ground”

On the plus side it’s always great to see Dominique Piñon, who was so good in Delicatessen (30 years ago!), and The City of Lost Children .

It might go down a storm on Saturday night, BBC Four, though again that dialogue is all a little off, like a badly tuned piano.

I’m guessing the source novel by Amélie Nothomb is more effective, though director Kike Maíllo at least does a good job of sustaining the interest.

So it’s not a runaway success or a complete failure, but it treads that mid ground between the two. Less flashbacks and stories within the story and it might have been more effective, instead of the sort of thing usually relegated to a streaming channel in a few weeks to make up their quota of daily premieres.

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A Perfect Enemy – Deeply Unpleasant For All The Wrong Reasons

Overall Score

Rating summary.

For a relatively short feature film, A Perfect Enemy packs a lot into its running time. Initially, it appears to be a story about a mischievous youngster engaging in a battle of wills. When it begins to spiral out of control and becomes something more, it can be difficult to get on its wavelength. Wanting to be campy and self consciously ridiculous early on, it then takes a turn towards being extremely serious to the point where it’s hard to get an accurate read on it. The film just won’t settle on a tone and let us enjoy the scenes that ask viewers to question whether one can really trust architects.  

A Perfect Enemy takes many twists and turns but the setup is fairly simple. Internationally renowned architect Jeremiasz Angust (Kot) is preparing to fly out of Paris when he encounters the unusual Tessel Textor (Strates). She loves to remind him that she is Dutch and proceeds to tell him all about her difficult childhood. His conversations with her prevent him from reaching the airport on time and he is stuck in the waiting lounge with her. She torments him by continuing to tell him about her past and he is disturbed by the fact that she claims to have killed multiple people. He desperately tries to get away from her but he is also intrigued by the stories that she tells. She seems to be implying that they are similar in many ways and he bristles against this notion. They are locked in an intense, complicated debate over their respective views on morality and punishment. As the debate goes on, Angust begins to question whether he is going crazy and a couple of plot twists alter our perception of the world that he exists in.  

The film is essentially a chamber piece at points, despite the extended flashback scenes that take us away from the airport where most of the conversations take place. The film largely consists of scenes in which Kot and Strates go head to head, with both of them becoming increasingly worked up and frustrated. The dialogue is written in such a grandiloquent, theatrical style that the director can’t really shift the focus off of the actors when they deliver their lines. He has to come up with about ten different ways to present Kot in profile as he grimaces before barking out some cruel rebuke. He never goes for an extreme close-up which was commendable despite too many medium shots that aimed to capture the business class lounge as much as they picked up on the nuances of Kot’s facial expressions. The camerawork needed to be more lively as the actors tried to overcompensate for the limitations that had been placed upon them. Strates does a lot of standing up and sitting down and her movements begin to feel like desperate attempts to distract from the repetitive dialogue that she is reciting.  

There are also points where the wildness of the story just becomes too much to take. The film is thoroughly unconvincing at every turn and, because it is impossible to hold onto anything, it’s easy to not care. As with most mysteries, you find yourself waiting for the moment where one of the main characters uses exposition to explain absolutely everything that just happened up until the usual frustratingly neat little moment where all of the loose ends are tied up. There is one of those sequences in A Perfect Enemy and it does produce one of the most thrilling moments in the film, it is just a shame that it comes so late and has so little weight behind it. The script fails to stay once step ahead of the audience, while also providing them with enticing breadcrumbs that will let them feel as though they have the ability to solve the mystery at the center of the story.  

All in all, this was often exasperating, even when it did provide some answers, it’s tough to call it thought provoking. One can’t help but be baffled by the film’s parade of odd subplots. If the filmmakers had a better control over its tone, this could have been even nuttier than it already is. Then it might have gained the charm that it fatally lacks.  

still courtesy of Vortex Media

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I am passionate about screwball comedies from the 1930s and certain actresses from the Golden Age of Hollywood. I’ll aim to review new Netflix releases and write features, so expect a lot of romantic comedies and cult favourites.

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A Perfect Enemy film review

Directed by: Kike Maillo

Written by: Cristina Clemente, Kike Maillo, Fernando Navarro

Starring: Tomasz Kot, Athena Strates, Marta Nieto, Dominique Pinon

Film Review by: William Hemingway

A Perfect Enemy Review

“Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away,” says Jeremiasz Angust (Kot) in the opening scene of A Perfect Enemy, quoting Antoine de Saint Exupery to end his self-aggrandising presentation on the philosophy of architecture, whilst simultaneously outlining himself as a perfectionist. After a quick meet and greet Angust is then whisked away in a chauffeur-driven car so that he can get to the airport and out of Paris as quickly as possible. Paris holds bad memories for him you see, as it was the scene of his deepest regret when his wife left him twenty years earlier, a failure he still carries with him, borne by the ring he continues to wear on his finger to this day.

It is obvious that Angust is an uptight and stuffy character, sheltered from the realities of the outside world by hard-working assistants, luxurious surroundings and dark-tinted windows, which makes it all the more surprising that he allows his inner world to be breached by a brash, blonde bombshell in the shape of Texel Textor (Strates). This young Dutch girl appears from out of the pouring rain and raps on his car window while he's stuck in traffic, asking him for a lift to the airport. As luck would have it he's going her way and so Angust reluctantly agrees to offer help to a damsel in distress not realising, or seemingly considering, how this might affect his own plans and his own journey. Inevitably no good deed goes unpunished and after a quick turnaround to retrieve a forgotten backpack Angust arrives at the airport to find that he has missed his flight. Not only that but this young girl with her in-your-face personality has also gotten into his head and he is glad to wave goodbye to her as he makes for the VIP Lounge to wait for the next plane home.

So, you can imagine Angust's consternation when somehow young Texel suddenly turns up in the same lounge, part of the terminal that he himself designed, and continues to badger him with her incessant chatter and thinly veiled attempts to engage him in philosophical debate. What follows is then a run-of-the-mill thriller as the two protagonists play an idle game of cat and mouse throughout the airport lounge while the audience desperately waits for some underlying concept to emerge. Unfortunately, that reveal is still a long way away and in order to get to it we must suffer through Texel's story, along with Angust, as she ekes out piece by piece the drama that she would like us to implicitly be a part of.

As Texel tells it, her story has three parts: one disgusting, one scary and one that ends in love, and so the meat and bones of the narrative have been laid before us, supposedly whetting our appetite for what is to come. Sadly though, these morsels are over-ripe and are bland and tasteless in the telling. There is a lot of heavy dialogue and expository voice-over that permeates each part of the story and none of the flashback scenes ever really gets the time and space to grow and breathe. Director and co-writer Kike Maillo seems more intent on the telling of the tale rather than on the tale itself and as a result, everything feels fairly rushed and perfunctory. In effect the narrative becomes 'Tell, Don't Show' and Maillo seems to have set things out as 'I'll tell you how I'm going to tell you a story then I'm going to tell you that story just like I told you I would tell it' which, given the dialogue, isn't too far removed from sounding like one of Texel's own lines.

The actors, too, seem to be having a really hard time delivering their lines with any emotion or connection to what they are saying. True, both characters are somewhat psychopathic and therefore have an underlying disconnect, but that's not the issue – it's that Maillo has taken the decision to film the piece in English despite most of his actors having very strong accents. This is not the actor's fault and we know that they have proven records with their acting ability, especially Tomasz Kot with his excellent performance in Pawlikowski's Cold War. It's just that the ask of delivering such verbose statements in quick succession, in a manner that is supposed to indicate verbal jousting, is just too much when they are thinking about their pronunciation and making the right shapes with their mouths. Instead of a fast-paced repartee a la Aaron Sorkin's The Social Network what we get is a form of verbal bellyflopping where the words just jump out of the actor's mouths without any direction, style or grace and then land flat with a thud.

Maillo has said in an interview that he made the decision to film in English “right from the get-go” because he wanted to give “that feeling of a non-place” and proceedings would appear “more international”. However, given that A Perfect Enemy is basically a chamber play and the settings of the airport and the graveyard and the apartment could have been in any unnamed city, it feels as though other, better decisions could have been made in the construction of the film. Certainly it would have been better to hear a natural cadence and rhythm to the speech, in French perhaps, and read subtitles rather than listen to the actors sound as though they are chewing on pencil shavings.

Where A Perfect Enemy finally comes into its own is in the third act, after we have listened to Texel's story and we realise just how connected the two main characters are. Here we eventually get to glimpse the underlying nature of what is driving the narrative and we understand that there is a character study at play with some filthy and nefarious themes to boot. Sadly this all comes as too little too late, and if we are still interested in the story at all we begin to wonder why more of this ugly, compelling psychopathology wasn't explored in much greater detail earlier on in the proceedings. For a film that outwardly talks so much about storytelling, it is odd that this is the area where it falls down the most.

Maillo, being a veteran writer/director of several short films and a handful of features, has a good sense of how to set up his frames and make his shots look enticing. There is always a sense of grandiosity to the surroundings, reflecting the perfectionism that Angust aspires to, and which allows the viewer a visual treat when everything is so easy on the eye. The production value is obviously very high in this Spanish/French/German collaboration and it would be a shame if everyone involved didn't feel like they got what they wanted from the final product. There is certainly a lot of promise in the underlying material of this movie, based as it is on the book Cosmetique de L'ennemi, however, the audience is essentially let down by the decisions made in its adaptation and in the way the story is told. There are much better modern European thrillers out there and rather ironically it appears that A Perfect Enemy's most difficult adversary to overcome was the enemy within.

A Perfect Enemy will be available on Amazon/Google and iTunes from 5th July

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‘A Perfect Enemy’ Ending, Explained – Who Killed Isabelle?

A person can run away from cities, his family and his roots, but there is one thing he can never escape, “his inner conscience.” Through a brilliantly plotted mystery, the story in A Perfect Enemy looks deep into the conscience of its protagonist. It underlines that a person is the architect of his own doom. His worst nemesis is his “inner enemy”.

Directed by Kike Maíllo, the film is based on a French novel, The Enemy’s Cosmetique ( French: Cosmétique de l’ennemi ) written by Belgian author Amélie Nothomb. Being an A-grade thriller, the film leaves some missing holes that I’ll try to fill to the best of my knowledge.

‘A Perfect Enemy’ Summary

A Paris-based architect, Jeremiasz Angust, heads to a Paris airport after a successful conference in the city. On his way, he meets a strange girl who asks for a lift to the same location. Texel Textor is a blonde teenage girl whose blunder costs Angust to miss his flight. Later it is revealed that the Paris airport was designed by him some 20 years ago. At the same time, his wife, Isabelle, went missing, and he has been waiting for her since then. Thus, the location refreshes some memory.

Angust waits in the VIP lounge for the next flight to Warsaw when Texel turns up again. Annoyingly, she compels Angust to join him for a conversation and ends up telling him grisly stories of her childhood. One of them holds a murder mystery that disgusts Angust at first but also hooks his attention.

Was Texel Textor real?

At the first meeting with Angust, Texel introduced herself as a Dutch woman headed to the Paris airport. In the second encounter, she started narrating the stories of her dark childhood and how she killed her classmate by just praying. Later, she ran off to Paris to live a life away from her family. In Paris, she saw an exquisite woman at Montmartre Cemetery and became obsessed with her. For 2 whole years, she hunted down the beautiful woman. And when her pursuit came to an end, she confessed her love to the woman, but she rejected it. Finally, in remorse and revenge, she killed the woman. The woman’s name was Isabelle, Angust’s wife, who went missing.

Angust got tormented. He couldn’t believe it because he was the one who killed Isabelle. So who was this strange woman?

Texel Textor is Angust’s inner conscience or often referred to as the “inner enemy,” in the novel and in the film. He killed his wife out of fear of losing her but later found out through a pregnancy strip in the bathroom that Isabelle was pregnant. Angust created an image of his daughter and named it Texel Textor. She often labeled herself as Dutch because Isabelle was leaving for Amsterdam before Angust killed her. He wanted to believe that his daughter would have been born in Amsterdam as a Dutch woman if he hadn’t committed the crime. (the Netherlands as a whole is called a Dutch Country).

In simple words, Texel wasn’t real but was an invisible conscience created out of guilt or remorse. Angust was simply revisiting his guilty past through another face.

Significance of the Paris Airport

The airport showcased in the film was designed by Angust, 20 years ago when Isabelle was alive. When he revisited the airport at the present time, he saw a bloodstain on the miniature model of the airport. Its significance is that after killing Isabelle, Angust dumped her body in a Concrete mix outside the construction area of the expansion airport. 20 years later, his mind played games with him and reminded him of the crime he committed.

The airport was Isabelle’s tomb that can’t be penetrated.

Were the stories real?

All three stories were true, but it never happened with Texel. They were actually snippets of Angust’s conflicted past. From childhood, Angust had been afraid of failure. He was a narcissist who couldn’t accept criticism. (A layer that can be pinpointed on deleting the negative comment on his blog that dealt with his conference feedback).

The Narcissistic personality disorder started in his school days when Angust killed his best friend Frank Hoffman and made him disappear without a clue. The story is similar to Texel’s story, who killed her classmate by praying for her death.

Like Texel’s incidents, Angust ran away from home and came to Paris to start anew. In Montmartre Cemetery, he saw Isabelle and got obsessed with her. But unlike Texel’s version, Angust wooed Isabelle and married her. But later, she felt captive (she mentioned Stockholm syndrome to Texel in the third story). When Isabelle decided to leave Angust, his sense of perfection and narcissism got hurt. So he killed Isabelle and called his actions “A Perfect Crime.” Why? Because Angust believed in his most narcissistic sense, that if a criminal is still free, then his crimes are the most perfect in nature.

“Without wanting to, I have committed the perfect crime: nobody saw me coming, except for the victim. The proof, I am still free.”

In one of the flashbacks, Angust saw himself gulping noodles like Texel gobbled cat food. Another reference that all the three stories were nothing but the recollection of Angust’s past with a new protagonist, his inner enemy, his daughter, Texel.

‘A Perfect Enemy’ Ending Explained

Finally, Angust and his inner enemy, Texel, came face to face on the airplane. Angust, in pain, confessed to killing the most loved one in the world. He demanded Texel, his conscience, kill him for his crimes and free him of his guilt. Texel tries to bury Angust in a concrete mix that visually appears in the airplane bathroom.

But soon, his narcissism took over again. He came out from the “hallucination” concrete and grabbed Texel’s neck. He killed Texel and buried her in the concrete. The way he buried his wife. In simple words, Angust killed his inner enemy, his inner consciousness, his daughter Texel. But why did Texel come back in the first place? Because Angust was in remorse for killing his unborn child.

In the end, Angust convinced himself that Isabelle left him and was still alive somewhere. Thus, their daughter was alive too, and Angust wasn’t a killer. A lie a narcissistic told himself to keep his figure unstained.

“A lie needs to be repeated more than the truth to be believed.”

A Perfect Enemy is a 2021 mystery thriller film directed by Kike Maíllo . It is based on the French novel, The Enemy’s Cosmetique (French: Cosmétique de l’ennemi ) written by Amélie Nothomb .

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A Perfect Enemy

• A successful architect is approached on his trip to the Paris Airport by a chatty girl. Although the meeting seems fortuitous, soon there be a turn that will transform the encounter into something much more sinister and criminal.
• Successful architect Jeremiasz Angust is approached on his trip to the Paris Airport by a chatty girl called Texel Textor. She is a strange young woman who seems to be looking for captive victims whom she forces to listen to her strange stories. Jeremy loses the flight because of Texel and once they are installed in the lounge area, he will not be able to get rid of the annoying stranger. Although the meeting seems fortuitous, soon there be a turn that will transform the character of that encounter into something much more sinister and criminal.
• A Perfect Enemy (2020) is a psychological thriller movie that follows the story of successful architect Jeremiasz Angust ( Tomasz Kot ) who is on a business trip to Madrid. While waiting for his flight, he meets a mysterious woman named Texel Textorius ( Athena Strates ) and strikes up a conversation with her. However, their conversation takes an unexpected turn when Texel accuses Jeremiasz of something that he claims he has no idea about. Jeremiasz boards his flight and forgets all about the unsettling encounter with Texel, until he meets her again in his hotel room in Madrid. This time, she claims that he is a murderer and has evidence to back it up. Jeremiasz is taken aback and denies any involvement in any crime. But Texel is adamant and even takes him to the crime scene, which looks exactly like the one she described. As Jeremiasz tries to prove his innocence, he is drawn deeper into Texel's game, which seems to have no end. He realizes that Texel is not who she appears to be and has a hidden agenda of her own. As the two engage in a dangerous cat-and-mouse game, Jeremiasz's life is turned upside down and he begins to question his own sanity. In the end, the shocking truth is revealed, and Jeremiasz and Texel's fates are sealed in an unexpected way.

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“A Perfect Enemy” Entices You Into Its Complicated Plot

The intriguing film “A Perfect Enemy” starring Tomasz Kot (Cold War), was directed by 45-year-old Spanish-born director Kike Maillo. Maillo helmed the 2012 film “Eva,” when 37, and it won him the Best New Director award from the Cinema Writers Circle Award in Spain and an award for Best Special Effects (2012). This time out, the basis for the complicated story is a novel by Amelie Nothomb, “Cosmetiques de L’ennemi,” but the script was written by Maillo, aided by screenwriters Cristina Clemente and Fernando Navarro.

Architect Jeremiasz August has just concluded a lecture about architecture ( “Perfection is when there is nothing left to take away.”) and is in a cab on his way to the airport.

Furthermore, it is an airport that Jeremiasz actually designed, with a beautiful model of his work in the center of a spacious waiting area.

Amidst a deluge outside the lecture, a young blonde traveler asks if she can share a cab with the architect. Tessel Textor ( Athena Strates )—a petite blonde—does clamber inside the cab in the downpour and begins a non-stop barrage of information about herself. The Good Samaritan act of allowing her to share the cab causes both the architect and the young blonde to miss their flights, so their conversation continues—more or less—-in the VIP lounge of the airport.

August appears to be growing very tired of the non-stop chatter. There is some symbolism overtly explained. When Tessel first enters the cab,she explains that her name can mean “weaver of words,” although she is not a writer. ( August tells her it’s not too late to start.)

There is a third character —a beautiful woman named Isabelle, who was married to August but disappeared  twenty years earlier. We see Isabelle ( Marta Nieto ) primarily strolling about a charming cemetery and, later, in her apartment. Her relationship with August is confirmed by photos of the couple that adorn her apartment.

Things begin to become very surreal and fantastical at the airport . There are clear signs that Tessel is “not right in the head” and her annoying monologue is beginning to irritate the reserved architect. There are several trips to view a model of the airport and the airport model has small changes occurring that involve small splotches of blood, etc. (Take note). The exchanges in the rest room(s) are even more central to the plot.

Ultimately, August is on his flight. We anticipate that violence will occur at any moment, especially since Tessel follows the man into the men’s lavatory and spends a fair amount of time playing with a knife throughout the film. Next, August is on his flight and Tessel says to August, “Lower your voice.”

“Why?” asks August.

“Because you’re still on the plane,” responds Tessel. But that was not where we thought August was when he raised his voice, so settings are shifting and mysterious things are occurring; the endless stories that Tessel tells are beginning to form a mosaic of sorts.

The best comparison, for the viewer, to capture what may be going on in this film is to mention “Fight Club” and how it dealt with reality.

I enjoyed the film. First of all, it was well acted, (although Tessel would have been more convincing if she hadn’t been wearing 10 pounds of colored eye make-up in every scene (plus what looked like camouflage pajamas)].

Aside from that faux pas on the costuming, the principals carry out the somewhat confusing exchanges of dialogue proficiently, the music is good (Alex Baranowski), the sets are great, the cinematography by Rita Noriega is good,  while the ultimate resolution of the plot is clear. Another plus: the actors are all speaking English. I finally gave up on the subtitles of an Iranian film that was  to feature a burning theater. Did not make it through to the end of that one. Two hours of my life I’ll never get back.

 Enjoyed this one all the way  through to its thought-provoking conclusion.

• Acting - /10 0/10
• Cinematography/Visual Effects - /10 0/10
• Plot/Screenplay - /10 0/10
• Setting/Theme - /10 0/10
• Watchability - /10 0/10
• Rewatchability - /10 0/10

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A Perfect Enemy (2021) Stream and Watch Online

Watch 'a perfect enemy' online.

Yearning to watch ' A Perfect Enemy ' in the comfort of your own home? Searching for a streaming service to buy, rent, download, or view the Kike Maíllo-directed movie via subscription can be tricky, so we here at Moviefone want to do the work for you. Below, you'll find a number of top-tier streaming and cable services - including rental, purchase, and subscription alternatives - along with the availability of 'A Perfect Enemy' on each platform when they are available. Now, before we get into the fundamentals of how you can watch 'A Perfect Enemy' right now, here are some details about the Sábado Películas Brainstorm Media Es Cine Pulsar Content OCS HessenFilm und Medien Deutscher Filmförderfonds Crea SGR Natixis Coficiné Barry Films The Project Treehouse Pictures OneWorld Entertainment TV3 thriller flick. Released June 11th, 2021, 'A Perfect Enemy' stars Tomasz Kot , Athena Strates , Marta Nieto , Dominique Pinon The movie has a runtime of about 1 hr 29 min, and received a user score of 66 (out of 100) on TMDb, which collated reviews from 132 top users. You probably already know what the movie's about, but just in case... Here's the plot: "Famed architect Jeremy Angust is approached on his trip to the Paris Airport by a chatty girl named Texel Textor who needs a ride He obliges and after they part ways at the airport entrance he misses his flight As he settles in the lounge he encounters the mysterious young Texel again who insists on telling her strange story and the conversation grows stranger and more twisted until it turns sinister and deadly" 'A Perfect Enemy' is currently available to rent, purchase, or stream via subscription on VUDU Free, IMDB TV Amazon Channel, Google Play Movies, Plex Channel, Apple iTunes, Hoopla, Amazon Video, YouTube, Kanopy, Vudu, Amazon Prime Video with Ads, The Roku Channel, Plex, Tubi TV, and Amazon Prime Video .

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A Perfect Enemy

Keeping its cards close to its chest, almost until it’s too late, A Perfect Enemy is one of those low-budget Euro-thriller co-productions that also (eventually) makes some sense of its transborder elements, particularly its cast.

There are only really two people, in a “starring” sense, in any case. The Polish actor Tomasz Kot you might know from Pawel Pawlikowski’s Cold War . He plays Jeremiasz Angust, a onetime high-flier architect who’s cashed in the status jobs and become even more of a somebody by taking on work that’s strictly humanitarian – hospitals in Rwanda, and the like, he tells the audience at the Ted-style talk he’s giving as the film opens.

And Athena Strates, the excellent young South African actor who’s largely an unknown, here playing the oddly named Texel Textor (get used to it, you’ll hear the name a lot), a livewire who jumps into Jeremiasz’s taxi as he’s on the way to the airport and then bugs him like crazy for the rest of the film.

Her name, she says, means weaver of words (Tex as in textile, as in text), and she is soon weaving them around him, to his irritation, telling the story of her young, tragic life – poverty, abusive stepdad etc – before things take a sinister turn. She killed her best friend, she insists, with a bit of childhood voodoo. Before finally answering the irritated Jeremiasz’s unasked question – “what’s this all to do with me?” – by shifting her story onto territory he recognises.

Blood-red blotches, meanwhile, seem to be appearing on the architectural model of the airport, situated in the VIP lounge where all this storytelling is taking place. It turns out Jeremiasz, in his previous life, designed the airport too.

A cold and sinister mystery unfolds, with a slightly unsettling atmosphere, emphasised by the two characters – the humanitarian successful self-contained Jeremiasz and the punkish, young (maybe 20?) and over-sharing Texel. The actors, too, seem to be slightly at odds, working in slightly different registers, as if they were in different movies, perhaps. Add in the odd bit of jarring writing where too much exposition is delivered by the wrong person in the wrong way and it almost feels like what’s playing out is a drama that’s simply not very good.

I was wrong about that. I was also wrong in a whodunit sense, believing I’d made sense of Texel’s story and how, as her murderous youthful antics gave way to later tales of mayhem in Paris, she fitted in to Jeremiasz’s life. Wrong.

So I had another go at making sense of it all. Wrong again. And, I think, wrong one more time just for good measure. But then I’m not one of those people who try to work out who dun it (thrillers cheat too often anyway). You might get there ahead of me, though I did get there in the end, but right near the end.

As well as the slightly jarring note struck by the actors’ performances, director Kike Maíllo and talented upcoming DP Rita Noriega keeps things visually cool, which seems odd considering the subject matter. Sonically it’s a stately, measured, delicate affair too, Alex Baranowski’s score picking up the theme. Here’s a film that doesn’t want to give away too much. To the point almost where an audience could be forgiven for not investing too much? Your call.

The answers, when they start coming, keep coming, one revelation flipping the narrative this way and the next one flipping it off in another direction. In the end it works, in the way one of the more thriller-ish episodes of The Twilight Zone (or Tales of Mystery and Imagination ) used to work, in an “Aah, I see,” sort of way.

Keep the critical thoughts at bay, in other words, until A Perfect Enemy has given up its goodies in its final, frantic, narrative splurge.

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