Stan is eventually transferred to Le Marseillais (Gérard Meylan), who provides better living conditions, but nonetheless he is still a prisoner. The damage being done, besides a chopped-off finger-is to Stanislas's public and private image, which in turn begins to quietly dampen the family's eagerness to have him returned. The Graff girls Véronique (Sarah Messens) and Martine (Julie Kaye), are devastated to discover who their father really is, just as any common man, by watching the news reading the papers. Françoise discovers that the board of trusties would only provide the ransom money as a loan, and discovers her family is far less wealthy than she thought. There's an acknowledgement that she knew something of this before, but being the wife of such a man, she couldn't bring herself to do anything about it, at least not while the money was still good, Something the film implies in one of its only attempts to understand the workings and motivations of its characters. After his high-profile kidnapping, the media uncovers his playboy lifestyle-and his wife, Françoise Graff is shown the apartment where he met his girls on the side. All these shifting loyalties are what make 'Rapt' so compelling. Business and personal relationships shift and slide and when Stan finally comes home-a shell of his former self, the old adage about dog being man's best friend is proved once again. Stan may occupy and move in elevated social circles, but when he's snatched from his everyday life, those who interact with him every day find that they didn't really know him at all. After breakfast with his wife Françoise (Anne Consigny) and teenaged daughters, Stan is kidnapped on his way to work in broad daylight, and his misfortune holds him, his family, and his business-'Rapt.' Belgian writer/director Lucas Belvaux latest isn't the typical thriller one might expect. Stanislas Graff (Yvan Attal) is a man of importance, he's a powerful industrialist who meets with world leaders.

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