[2] Jeanne Fabre, an attractive late-teen carefree loner, spends her time rollerblading through Paris and job-hunting, a nuisance she endures to indulge her widowed mother, Louise, who runs a day-care center out of their house.

Watching a television news story about anti-semitic attacks, Louise recognizes Samuel Bleistein, a prestigious Jewish lawyer who was in love with her many years ago.

Unfazed by this failure, Jeanne resumes rollerblading and unexpectedly meets Franck, a young wrestler, who instantly falls for her.

When Louise asks Samuel for help about Jeanne's problem, he invites them to join his family at his country house by a lake.

When all gather for dinner, Jeanne sticks to the same story she told the police: six youths approached her and, assuming she was Jewish, proceeded to assault her.

Samuel attends Nathan's bar mitzvah, when he also sees television footage of reporters interviewing Louise about the scandal.

Marie Leonie Leblanc, a woman in her twenties, walked into a police station in Paris on 9 July 2004 claiming she had been the victim of an antisemitic attack on a suburban RER train.

According to her account, six men of North African descent ripped her clothes, cut some of her hair and daubed a swastika on her stomach, knocking over the pram containing her baby.

The revelation that the incident was a total invention created consternation and further outrage, particularly criticized was the sensational exploitation of the affair by the media.

The website's consensus reads: "It's a bit of a comedown for director André Téchiné, but this fact-based drama raises some thorny questions -- and benefits from strong performances by Catherine Deneuve and Emilie Dequenne.

"[4] Metacritic, which uses a weighted average, assigned the film a score of 68 out of 100, based on 21 critics, indicating "generally favorable" reviews.

Just regular people, a mother and daughter, whose lives are observed with economy and precision, and with an eye for the telling detail and the tense, revealing moment.

"[7] In Variety, Ronnie Scheib said that Téchiné "fashions a brilliantly complex, intimate multi-strander, held together but somewhat skewed by the central performance of Emilie Dequenne.

"[8] Steven Rea from The Philadelphia Inquirer commented that "Presented with an economy and emotional cool that add to, rather than subtract from, its dramatic impact, The Girl on the Train reverberates with a quiet, seductive power.

"[9] Rene Rodriguez in his review for The Miami Herald concluded: "Like Techine's best films, the movie appears to be a story about nothing - until it suddenly becomes a meditation on the vagaries of the human heart.