This is the film that made the quadra-lingal Monica Bellucci a star; plus it's the one that introduced her to now-husband, Vincent Cassel. Bellucci is - if possible - de-glamorized here most of the time. She wears a backpack! And pants! And athletic shoes! Such are the pressures when you are Monica Bellucci. To see she and Cassel together at the starts of their now famous careers is a treat.
The movie itself is tortuously complex and riven with holes, most notably: Cassel's Max (rising corporate hotshot and fixer) is tasked with flying to Tokyo to swing some major deal. But he [THINKS HE] overhears Bellucci's Lisa - his erstwhile lover and one-time _almost_ live-in mate - in a happenstance semi-encounter and becomes frantic to track her down. So, what to do? He pretends to wing it to Tokyo, goes out the backdoor of the airport (passing the fiancée, Muriel, who dropped him in the process), calls the high-profile clients in Tokyo telling them he's been unavoidably detained, and makes calls from Paris to Muriel pretending he's in Tokyo. Muriel is, by the way, Max's CEO's sister...but no big deal to the director: nothing ever really becomes of all this. Huh? In real life, Max's ruse would be found out in a day, and the film's entire premise shot. But, whatever, right? It annoyed me that something that blatant would essentially pass unnoticed.
The movie's second-half turns into a head-spinning roundelay between Lisa, Max, Lisa's spurned friend Alice (or is she Lisa?) and Max's friend Lucien. Despite the complexities and bulldozer-sized plot holes, The Apartment still made for 2 hours of enjoyable watching. Writer/Director Gilles Mimouni (Wicker Park) employs a really neat trick of showing you an event from a character's point-of-view, then revealing, say, 40 minutes more of the story, and then showing you the event again from another character's point of view...by which time the quizzical first-time showing has new meaning and gives you an 'ah ha!' moment. It's very carefully constructed and artful stuff.