Told through three distinct points of view until they mesh together after the first act into a more classic narrative, the film follows coppers Virginie (Efira), Aristide (Sy) and Erik (Gadebois), all of whom work in the same Paris precinct but have drastically different lives. Here, in a script she adapted with Claire Barré from Hugo Boris’ 2016 novel, she depicts law enforcement as a world both gloomy and tender, focusing on the dicey relationships her three cops have with one another, as well as with the mute Tohirov (Maadi), an asylum seeker from Tajikistan they’ve been ordered to send back home. She makes precisely the kind of mid-budget, competently middlebrow movies that are disappearing more and more from theaters and turning up nowadays on streamers. Over the last decade, the chameleon-like Fontaine has directed everything from a high-profile fashion biopic ( Coco Before Chanel) to an artsy rom-com starring Isabelle Huppert ( My Worst Nightmare) to a queer coming-of-ager ( Reinventing Marvin) to a stark World War II drama about pregnant nuns ( The Innocents), each time applying her polished style and skillful hand with actors to the story in question. 'Our Body' Review: Claire Simon's Intimate and Unflinching Look Inside a French Gynecology Ward