Follows a brilliant airline captain, Estelle, who has a perfect life with her husband Guillaume, a renowned doctor. Something is about to change as Estelle falls in love with Ana and starts and intense affair.
Estelle (Diane Kruger) seems to have everything a woman could wish for in life. She is successful in her demanding job as a pilot of large passenger planes for a European airline and is happily married to doctor Guillaume (Matthieu Kassovitz). Together they own a spacious house with a pool on the French Riviera. They also want to have a child together and start a family. But the bourgeois construct, which could have come straight out of a "Schöner Wohnen" magazine, starts to crack when Estelle meets her old friend Ana (Marta Nieto) again by chance at the airport. Ana is a photographer who travels the world. She has just taken a series of photos showing people at the moment of orgasm. Ana has moved into the villa of her Dutch gallery owner Johana Van Damaker (Amira Casar). This means she now lives in Estelle's immediate neighborhood. When Estelle visits Ana, the two women have sex. And it doesn't stop there. Ana calls Estelle a goddess and suggests that she is the boss, but the division of roles between the two women is not so clear-cut. When Ana withdraws, the jealous Estelle follows her to Tokyo without meeting her there. Things also get out of hand professionally for the pilot - after a near collision between her plane and another aircraft, she has to answer to air traffic control and is suspended. At the same time, Estelle feels she is being watched, even in her most intimate moments. She becomes suspicious, especially of her husband. Guillaume has a motive for wanting to remove Ana from Estelle's life - he doesn't want to lose his wife to his rival. But the shiny surface is deceptive, the sea in which Estelle often swims is deep and dark beneath the sunlit surface, things are not as they seem to Estelle. — ZDF
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Fun Facts
Director Yann Gozlan (Black Box, A Perfect Man) keeps the film French-language but shot partly in English-speaking cockpits and Nice airport corridors, so sub-titles drop out whenever Estelle is at the controls—forcing the audience to feel the same disorientation she does.
Every chapter card (“Day 1 – Encounter”, “Day 4 – Descent”) is a hand-painted water-colour scanned in so the pigment bleeds like evaporating jet-fuel—a quiet visual cue that memories never stay inside the lines.
Stay after the final descent: Estelle glimpses her cracked cockpit-mirror—her reflection lags a half-second behind real movement, a micro-VFX reminder that identity fractures when you fly too close to your past.