Poor, silly Le Besco. First she took up with serial killer Roberto Succo in Cédric Kahn's film, and here she is again, a middle-class girl sufficiently blinkered and in thrall to her desires to take up with Embarek, a hunky bank robber with whom she soon goes on the run to foreign lands, where catastrophe inevitably beckons. One might even suspect typecasting, especially given that her relationship with Jacquot reportedly transcends the purely professional - not that he's drawn much of a performance out of her. Set in the 1970s, the film was inspired by a true story, and with its black and white digital camerawork does have a certain raw integrity. That said, this kind of subject has been done all too often - and better - before, and only the later scenes in Greece feel as if they're tentatively exploring new ground.