"A short, absorbing film that combines charm and elegance with grit and desolation to good effect..."

It's been quite a year for British actress Kristin Scott Thomas, having appeared already in the likes of Bel Ami, The Women in the Fifth and Salmon Fishing in the Yemen, and now the bilingual actress has turned her head to Lola Doillon's French drama In Your Hands, in what proves to be a captivating art house thriller.

Scott Thomas plays Anna, a lonely doctor, working hard in one of the most demanding and testing professions there is. Although taking a much deserved week off, Anna's life is put at risk following her violent kidnapping at the hands of the psychotic Yann (Pio Marmaï). Locked away in a room that consists solely on a bed and a bucket, Anna is being held captive by stranger - a man who bears a grudge against Anna, seeking revenge on the doctor who failed to save his late wife's life.

Yann's partner died unexpectedtly during a caesarian and he holds Anna directly responsible, and is keeping her imprisoned as a result. However, as the pair find themselves in each others company, suddenly their mutual desire to simply be loved brings them together, as their initial hatred for one another soon transpires into affection as a romance suddenly seems somewhat plausible...

Doillon cleverly presents this story exclusively from Anna's perspective, as the character appears in almost every single scene. We are put right into her position as we unravel her hostage situation as she does, oblivious as to why this happened right up until she discovers it herself. Doillon enhances such a sentiment as we, similarly to Anna, lose all sense of time as there is no telling whether it's night or day in this window-less room -  which also gives off a feeling of claustrophobia, yet again furthering the emotive aspects to this film.

As we are witnessing this story through our protagonists eyes, we rely heavily on the performance of Scott Thomas, and the experienced actress does not let us down. Marmaï is also impressive as Yann, turning in a very intense performance, rather conflicting to that of his charming cameo in the recent Delicacy. However despite such tension emanating from his character, Yann remains as someone that comes across as being easy to relate to, and despite his cruel intentions, actually has a rather endearing nature about him, and credit must go to Marmaï for managing to pull that off. Although having said that, in a sense his character could have done with being somewhat more intimidating and creepy, in order to maximise the effect of the opening half an hour.

The first half an hour does prove to be the most enjoyable section to the film however as we attempt in piecing the story together. The very first scene shows Anna escaping, as it becomes apparent that her time in Yann's possession is then a flashback - as she recounts her story to the law enforcement. This is an intriguing move by Doillon as we are made aware of her escape, yet unsure exactly how she manages it, which despite adding a sense of reassurance to proceedings, doesn't take away any of the suspenseful atmosphere that exists, as the scenes still prove difficult to watch despite knowing she is eventually going to be okay. 

When the film does become somewhat absurd is when the romantic narrative enters. Despite understanding what Doillon is trying to do, by taking two characters who by right shouldn't want to be anywhere near each other yet can't resist one another, it is hard to shake off the feeling that it's all a little bit silly. Only the French could take a kidnapping situation and turn it into a romantic narrative. Then again, only the French could get away with it.

In Your Hands is a enjoyable picture that thrives within it's own simplicity - bearing merely three settings (his house, her house and the police station) in what is a short, absorbing film that combines charm and elegance with grit and desolation to good effect. And if there is one thing you can certainly credit this film for, is for dispelling the cinematic myth of love at first sight.