François Ozon is one of France’s most acclaimed and feted contemporary film directors, with a rich and varied back catalogue that crosses style and genre. Not all of his films succeed creatively – his 2017 thriller Double Lovers was a particularly egregious misfire – but his prolific output has always assured that, hit or miss, he will always return with a stand-out piece of cinema sooner or later. The Crime is Mine is a case in point: smart, bubbly, and consistently funny, this period comedy represents top-tier entertainment.

Aspiring actress Madeleine Verdier (Nadia Tereszkiewicz) lives a dirt-poor life in Paris with her best friend and lawyer Pauline Mauléon (Rebecca Marder). After suffering sexual harassment at the hands of a legendary film producer, Madeleine is accused of his murder – only to find more profit in admitting to the crime than defending herself.

Based on Georges Berr and Louis Verneuil’s 1937 play Mon Crime, The Crime is Mine sparks with joie de vivre and wallows in pastiche. The storytelling is direct and broad. The performances are aggressively heightened and theatrical. Ozon seems as inspired by Hollywood’s Golden Age as he is by early 20th century theatre. The result is a film that does have something to say – it satirises modern-day issues of sexual harassment and assault very effectively – but coats those issues liberally with a sense of whimsy and enormous charm. I can easily imagine long-term Ozon enthusiasts, drawn to his early films in the New French Extremity movement, seeing The Crime is Mine as a lesser work and criticising its lack of boldness. The truth is, it’s simply bold in different ways. If one is known as a director of challenging thrillers, it takes confidence to write and direct a screwball comedy. It takes talent to make one this immediately and playfully enjoyable.

Tereszkiewicz and Marder are outstanding, and their performances are enabled by a superb supporting cast including Dany Boon as a romantic society man, Fabrice Luchini as an officious magistrate, and particularly critics’ darling Isabelle Huppert as silent film star Odette Chaumette. It is easy to take Huppert for granted; roles like this are good to showcase just how wide her range can be.

This is a particularly strong film for its female characters, showcasing an environment where men are portrayed not only as arrogant and self-superior but also weak-minded and foolish. The protagonist is a woman taking advantage in a world dominated by men, and is supported by a woman forging a career in an oppressively male environment. The antagonist is another woman, demanding her share of the advantage. To note the strong feminist elements is to state the obvious: more important is that it is all so energetic and engaging. One can never be completely sure what they are getting with François Ozon. In this case they are getting a superb amusement, captured like lightning in a bottle.