Director: Rebecca Zlotowski
Script: Gaëlle Macé, Rebecca Zlotowski
Cast: Tahar Rahim, Léa Seydoux, Olivier Gourmet, Denis Ménochet, Johan Libéreau, Nahuel Pérez Biscayart u.a.
Camera: George Lechaptois
Editor: Julien Lacheray
Location Sound: Cédric Deloche
Music: Rob
Sounddesign: Alexis Place, Gwennolé Le Borgne
Production Design: Antoine Platteau
Costumes: Chattoune
Producers: Frédéric Jouve, Gabriele Kranzelbinder
Production: Les Films Velvet
Co-production: KGP Kranzelbinder Gabriele Production

As a temporary employee in a nuclear power plant — where radiation and health risks are most acute — Gary finds what he has always been looking for: money, friendship, and perhaps even love. Yet his love interest just so happens to be engaged to a colleague, and Gary quickly finds himself caught in a love triangle: a fatal situation that finds its harrowing expression in recurring warning signs. Every day is a new threat.

Rebecca Zlotowski’s film, the recipient of the François Chalais Prize at last year’s Cannes Film Festival, has all the trappings of a cool French arthouse movie. There are big, brash post-Godardian fonts, in red, bien sur. There’s some splendidly discombobulating sound design. There’s an achingly hip central pairing in Blue Is the Warmest Colour’s Seydoux and A Prophet’s Rahim. There are Geiger counters, which come second only to unexploded bombs for inherent drama. (Tara Brady, The Irish Times)

Zlotowski has turned in a beguiling film that impresses as much for its oddly specific and wellresearched setting, as for the romance, and maintains impressive narrative and tonal control right up until an ending that falters just at the final hurdle. (Jessica Kiang, The Playlist)

Rebecca Zlotowski’s picture works best when it’s at its most stark and unadorned, when it focuses on the dirty nuts and bolts near the nuclear core. Along the way, Grand Central lifts the lid on a high-stakes Catch-22 system in which employees have to keep their radiation levels down for fear of being laid off a devastating sleight of hand that effectively makes the sub-contractors responsible for their own safety. (Xan Brooks, The Guardian