Sibyl

Set in a modern, brisk urban world, Sibyl follows a weary psychotherapist who longs to write again. Her routine is disrupted when she takes on Margot Vasilis, a rising actress whose volatility draws Sibyl in. What starts as clinical curiosity soon becomes an all consuming fixation, as Sibyl slips into Margot's turbulent life and discovers memories she thought were long buried. The more she probes, the more old wounds resurface, colliding with the present and testing the boundaries she keeps between professional distance and personal longing. The story tracks a careful push and pull between art and morality, between healing and obsession, as Sibyl negotiates her own past while chasing a dangerous spark in Margot's orbit that tests her limits.

Directed by Arthur Harari and Justine Triet, Sibyl presents a French drama built from original material rather than an adaptation. The directors craft a tense space where a therapist and her patient cross professional boundaries in unsettling ways for both.

Box office details are not widely reported, and there are no publicly cited worldwide grosses available in standard databases or distributor reports. It played primarily in art-house venues and through select streaming releases, limiting its commercial footprint in some markets.

While the film may not have sparked a broad cultural explosion, performances by Virginie Efira and Adèle Exarchopoulos anchor a watchful mood that lingers after the credits. The dynamic of mentor and muse, plus the lure of memory, stays with viewers long after the screen fades, especially in art-house circles.

Critically, Sibyl receives a mixed verdict, with praise for its tense atmosphere and strong performances while noting a plotting risk in its boundary bending. The film explores themes of identity, desire, and the thin line between care and control in a healing relationship, inviting risk assessment and prompts ongoing discussion.