English Abstract The number one is a corporate drama very different from the one we are used to in American cinema. Although the gender issue is central in the description of a woman's access to a relevant position in a business world dominated by men, the protagonist's own doubts about this positioning and the lack of sense of achievement add many nuances to the story, a story with contradictions that never falls into cynicism and with a clear message far removed from the pamphlet.

English Review An important executive of a private energy company (Emmanuele Devos) is contacted by a feminist group of influential women to propose that she compete for the management of an important French joint venture, one of whose sectors is water, starting from there a series of confrontations and intrigues.

The number one is a corporate drama very different from the one we are used to in American cinema. Although the gender issue is central to accessing relevant positions in a male-dominated business world, the protagonist's own doubts about this position and the lack of sense of deed add many nuances to the story.

The subtlety and sharpness with which Tonie Marshall (director and co-writer) describes the differences involved in being an important CEO for a woman, especially between her peers, and articulates them with her private life is remarkable. Of course, the battles and intrigues for corporate power would also have occurred with a male applicant, but the film highlights the differences. The general picture is realistic due to its contradictions without falling into cynicism and with a clear message that is never found in the pamphlet.

An outstanding cast participates, led by the great Emmanuelle Devos, who provokes the immediate empathy of the viewer and an interesting Richard Berry as her opponent.