Depardieu has become a bit of a pantomime villain in recent times, leaving France over tax affairs, greeted with open arms by the Russians (although if Putin watches this, he may not want him back). But this is just the kind of film that so works for Depardieu - his actions are repulsive, but he somewhat remains alluring, perfect for a film which occasionally taunts the audience for being so caught up in a story of sex and overindulgence. Ferrara adds a couple of moments that break the fourth wall, adding a bite as Ferrara playfully suggests the audience's own guilt in letting people like Devereux get away with it. Perhaps in Devereux's France, where Welcome to New York premièred at Cannes, the question invites the French public to question how they let Strauss-Kahn - who of course admitted a relation inappropriée with the maid - for so long. Depardieu grunts his approval, howls like a wolf, but is so caught up in his own enjoyment to notice anyone else caring. As we watch enthralled by his actions, are we not the same?
This review of was originally published on 20 June 2014 as part of our Edinburgh International Film Festival coverage.