Set in London, one of planet Earth's most prosperous and important cities, the film presents a series of artificially sweetened events, set in motion by an office break-in carried out by a 15-year-old kid named Mirsad, a war refugee from Bosnia. Now based in London and straddling the line between lower middle class and poverty, he is cared for by his Muslim mother Amira who provides for both by working as a seamstress after his Serb father got murdered during the war.<br /><br />The office space that he keeps breaking into belongs to an architectural firm owned by Englishmen Will Francis and his partner Sandy. Will is young, rich, and bored. He's also got a depressed Swedish-American girlfriend Liv along with her 13-year-old autistic daughter Bee to deal with at home.<br /><br />Another one in a growing line of recent Kumbaya, global village cinematic offerings, B&E purports to explore a slew of additional themes (human relationships, single-parent, mixed-family tribulations, etc.). However, everything outside its general "people are people" running thread is a rather bland salad dressing. Unfortunately, the main course isn't a whole lot better, either. Among an almost alarmingly germinating number of these kinds of films springing up lately - "Crash" and "Babel" being the most prominent - B&E offers no substantial improvement. Much like those mediocre movies did, in a desperate search for relevance this one also resorts to dropping little bits of halfass global liberal politics at strategic points throughout the story.<br /><br />Furthermore, on the dramaturgical and even aesthetic front, B&E lives and dies by the character of Amira. She is supposed to be the spice that elevates proceedings from the mundane and purely Western "I'm kinda bored and my woman's a crazy moody bitch so some exotic tail on the side would sure hit the spot" territory into something more hearty.<br /><br />And while Binoche does a minimally adequate job portraying a Bosnian Muslim woman, giving the role to a South Slavic actress would've improved things substantially, and not just from the external authenticity standpoint. Apart from her annoying French "Bosnian accent" and her insufferable French-accented Serbo-Croatian, she plays this woman very unevenly. Not to mention that the way this entire character is written feels undercooked to begin with. At times it's as if they've taken Sena, a supportive wife from "When Father was Away on Business" (played by Mirjana Karanovic), applied a selective 21st century makeover, and built a new movie around her.