From legendary Academy Award (R)-winning writer/director Costa-Gavras (Missing, Z) comes CAPITAL, a fast-paced, darkly comic, suspenseful drama set in the high stakes world of global finance. When the CEO of France's Phenix Bank collapses on the golf course, Machiavellian young executive Marc Tourneuil (Gad Elmaleh, "Midnight in Paris") is crowned as his replacement. A whirlwind of ruthless ambition, power struggles, greed and deception ensues as Tourneuil's brutal ascent is jeopardized by a hostile takeover attempt from a large American hedge fund led by Dittmar Rigule (Gabriel Byrne, "Vikings," "In Treatment"), erotic distractions from international supermodel Nassim (Liya Kebede), and adversaries with an agenda for destruction. CAPITAL is a pointed commentary on how the Darwinian world of contemporary capitalism plays itself out across the global financial stage. (c) Cohen … More
- R (for sexual content, language and drug use)
- Directed By:
- Written By:
- Stéphane Osmont , Jean-Claude Grumberg , Jean Claude-Grumberg , Costa-Gavras , Karim Boukercha
- In Theaters:
- Oct 25, 2013 Limited
- On DVD:
- Jun 9, 2014
- Box Office:
as Marc Tourneuil
as Dittmar Rigule
as Natacha Régnier
as Maud Baron
as Raphael Sieg
as Jack Marmande
as Claude Marmande
as Antoine de Suze
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Critic Reviews for Capital
"Capital" isn't as good as "Margin Call" or "Arbitrage," in part because Costa-Gavras holds these characters in such contempt rather than trying to understand what motivates their insatiable greed.
It's about a callous bunch of high stakes financial market players who are out to rob the poor to give to the rich.
"Capital" gives an intriguing look into the high-level workings of corporate Europe through the eyes of Tourneuil in an effective character study.
Capital's chief pleasure is also a huge limitation: in all its merciless hubris, it's smartly, stylishly blank.
... shows an appropriate contempt for the global financial climate without turning its characters into one-dimensional villains.
Director Costa-Gavras takes a vaguely facetious tone toward the evils of global finance, which he concludes is a game for gluttonous boys.
It's a bit like what The Godfather would have been if it had been set in "The Bank of Evil" from Despicable Me -- and if its antihero were a cipher instead of Michael Corleone.
What's lacking is most surprising from this dissident filmmaker: the emotional outrage.
The famously left-leaning Costa-Gavras is preaching to the choir in his indignation, but he does so in slick, brisk fashion.
In the end, "Capital" is just a dark comic sketch of bald-faced greed, with little nuance or real feeling.
"Capital" is too cynical to ever really suggest that redemption is possible. Not that anyone watching will even care.
Straight-faced depictions of cartoonish villainy and an uncompelling protagonist add up to a well-intentioned flop, which probably seemed like a capital idea but ends up being closer to capital punishment.
Fourth-grade Marxism that compares banking to the Mafia and shows the suits standing up and cheering when their boss promises to rob the poor to pay the rich.
Costa-Gavras has a good ear for boardroom doubletalk and cutthroat shenanigans, but can't quite decide whether to praise his young prince or bury him.
Le Capital reconfirms that yes, the system is deeply unfair and highly manipulated, but that point has already been made more than once, so where do we go next?
Costa-Gavras' film excels as a meticulously researched procedural that goes deep into the grime of greed, deception and cynical exploitation.
"Capital" is a fairly engaging piece, and proof that an old director can still learn new tricks.
Gavras never forces the material into allegorical turf; it's a relatively straightforward look at the ramifications of getting blinded by dollar signs, with perhaps one of the most clearly defined visions of economic depravity since "Wall Street."
The movie, based on Stéphane Osmont's 2004 novel of the same title, is stiff and didactic. Even the high life portrayed in the film seems pallid, as if the director were frozen in disgust.
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