Private Property begins with Pascale (Isabelle Huppert) in a Freudian slip inviting her oedipal ova to comment on her attractiveness in it. This scene astutely establishes the relationship between parent and twin sons, Thierry (Jeremie Renier) and Francois (Yannick Renier). Francois is complimentary whilst Thierry purportedly in jest says she looks like a whore.

This over-familiarity has bred contempt as both sons through their inertia and constant presence show a disregard for their mother as a person and disrespect for her as a mother. But what else can be expected other than this insalubrious state-of-affairs when a mother takes her morning shower openly in the presence of her sons.

Oedipus and Electra complexes are long-standing staples of modern French Cinema – inappropriate sexualisation is de rigueur. It may be that the French middle classes are more relaxed on the subject of nudity and minors but it predictable that such precarious beginnings meet with a fatal end.

Private Property is about the disruption caused by an acrimonious divorce; a mother’s need to tend to herself and propinquity and rivalry between siblings. Not very much happens, but it is how things happen that draws interest. The film is well-acted and poses some interesting if familiar questions about familial relations.

Where the film is most successful is in the question it raises about our expectations as an audience through the expectations Pascale has of her lover Jan (Kris Cuppens). Part of her wants to be rescued by him and we are similarity desirous. But we also resent her for this. Are we romantics or are we feminists and are the two things mutually exclusive? Is the step she finally takes powerful or pathetic?