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Mona rêve depuis toujours d’être comédienne. Au sortir du Conservatoire, elle est promise à un avenir brillant mais c’est Sam, sa sœur cadette, qui se fait repérer et devient rapidement une actrice de renom. À l’aube de la trentaine, à court de ressources, Mona est contrainte d’emménager chez sa sœur qui, fragilisée par un tournage éprouvant, lui propose de devenir son assistante. Sam néglige peu à peu son rôle d’actrice, d’épouse, de mère et finit par perdre pied. Ces rôles que Sam délaisse, Mona comprend qu’elle doit s’en emparer.
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You can't find authentic Mexican food in Paris. You can't find authentic Chinese food in Paris (the restaurant signs proclaim Asian Caterer, as if Chinese, Japanese and Vietnamese cuisine was the same), and you can't find authentic Indian food in Paris for the simple reason that French food is so good, that whenever they borrow another nation's cooking, they alter it to make it more French. This phenomenon frequently happens with cinema, as well. _Carnivores_ had all the fixings of a decent thriller with some moments of intense suspense, but then they ruined the feast by adding too much French sauce. By this I mean that they mixed in too much art and too much thinking. Which was a shame -- and unnecessary -- because the cinematography was so striking that it gave an after-taste of art to the whole affair already, so the film didn't need the overlong scenes, the extended silences or the super closeups. A fast and simple thriller would've gone down much better and been in better taste than this burger made up to look like filet mignon.