In 1893 France, country girl Sidonie-Gabrielle Colette (Keira Knightley) is married to entrepreneur Willy (Dominic West) and moves to Paris. Whilst he publishes her writing under his name she starts to discover her true self and the artist within.

Colette is a deceptive film in that it starts off in a manner where you think you know what you are getting and then it evolves into something much more interesting and complex. Colette begins the film as a seemingly naive country girl being married off by her parents but that myth is quickly dispersed when you see how much she is actually in control of the situation. Then when she moves to Paris it seems like this will be about her husband dominating her because he is a man, but again she finds a way to assert her needs bit by bit. And by the time the film ends it’s clear that what could have been a story told in broad strokes has been made in intricate and clever detail.

Director and co-writer Wash Westmoreland clearly appreciates nuanced roles for women. His last film Still Alice helped Julianne Moore win a Best Actress Oscar for a brilliant performance. Colette gives Keira Knightley the chance to deliver an equally impressive performance as we see her character evolve throughout the film and to assert her independence from her husband.

Deceptively brilliant.