The title refers to the last two lines of the French game of Effeuiller la Marguerite (Fr., "to pluck the daisy") of pulling petals off a flower, in which one seeks to determine whether the object of their affection returns that affection and to what extent: un peu ("a little"), beaucoup ("a lot"); passionnément ("passionately"): à la folie ("to madness"); pas du tout ("not at all").
While watching the news one night, she learns that Loïc has been arrested for assaulting one of his patients, Sonia Jasmin (Nathalie Krebs).
Angélique, after witnessing Loïc embrace his wife as he is dragged away, returns home, turns on the gas oven, and lies down on the floor to commit suicide.
Rachel stands by her husband while he recovers from his injuries, and several years later the couple are shown at a house with their young children as Loïc hobbles around with a walker.
The film then ends with a quotation from a real erotomaniac: "Though my love is insane, my reason relieves the pain of the heart, telling me to be patient and not lose hope."
In a 2003 BBC interview,[5] actress Audrey Tautou commented on working with director Laetitia Colombani: "I found her very precise.
[6] In the United States, Mick LaSalle noted it was the "first feature from 26-year-old Laetitia Colombani and represents about as assured a debut as they come.
"[7] Richard Schickel called Colombani a "terrifically assured filmmaker" whose "twice-told tale" is the "basis for an intricately ironic, darkly witty movie with a twist ending that is both utterly surprising and utterly right"; in a comparison with Tautou's performance in Amélie, the film "displays a more dangerous kind of innocence with a charm that shades off into obsessive madness in very gentle, persuasive increments.
"[8] In the United Kingdom, The Independent called it "an assured, if slightly too obvious thriller by first-time director Laetitia Colombani"; the film's originality in its subject matter, called a "welcome change from the offensive 'woman scorned' scenario of so many Fatal Attractions, is lost somewhat in her treatment — which gives first Angelique's perspective, before rewinding to show Loïc's.
"[9] The Evening Standard called it an "irredeemably bad French film" with "characters [that] are cartoon representations of good and evil.
By the time we work out what's really going on, it's too late: Angélique has earned our hatred and Loïc has shown himself too passive to hold our interest.
The film was a modest success internationally grossing $101,483 in Austria, $13,306 in Czech Republic, $92,473 in Finland, $720,970 in Germany, $116,274 in Hong Kong, $60,825 in Hungary, $42,151 in Poland, $25,354 in Taiwan, and $140,124 in Turkey, for a worldwide total of $5,126,264.