orinocowomble Reading the message boards and some of the reviews for this film, I was amused (and I confess, a bit surprised) at how few viewers seemed to grasp the point. This is the sort of film that you have to think about while watching; it requires something on the part of the viewer. It's not meant to be passive entertainment. Yes, Tatou's character is annoying. Yes, Baer's character is irritating. But that's the whole idea. Tatou's "Michele" is a shallow, superficial fashion model in search of a "great cause" to identify with. (Of course, we know that no top model was ever like that, don't we!) Her constant reading of self-help books and what I like to call "bathtub philosophy" (like bathtub gin, it is home made and of dubious quality) leads her on a "spiritual quest" in the modern sense of the buzzword that spirituality has become--the search for a feel-good factor that will make her feel better about herself, her decisions and her life. Baer's "François" considers himself to be above all need for religion, heritage, even his own history. He's too intellectual (in his own eyes) to need any of those "crutches". And yet he is drawn into a relationship with the dysfunctional, needy Michele because neither one is happy with themselves and both hope to find someone to fill the gaping hole in their lives.I have known many people of this type personally...they wander from one idea, one philosophy, one country, career or "lifestyle" to another without ever really committing to anything. That's why it says "To be continued" at the end of the film: these people will search forever, without ever seeing what's right in front of their noses. Their personal movie will go on...and on...and on. When the lights come up at the end of the show of their lives, Death will take them totally by surprise.At first, I found the choppy editing annoying and confusing; it looks like a poorly made end-of-term project for film school. But that also helps make a point. Real life doesn't follow a nice, smooth script, and you can't edit the final rushes to suit yourself. It is what it is, with all its mistakes, out-takes, missed cues and forgotten lines. This is one of those minor films that can grow on you with time, if you learn to see beyond the surface into the ideas behind the emotions. It's only "shallow" if you fixate on the reflections...the water underneath is deep, and full of surprises. No, it's not Oscar material. It will never have mass appeal. But of its kind, it's considerably better than many viewers seem to realise.

captainquality As almost all the other reviews observe, this film is a disappointment, and for mostly the same reasons already mentioned. I would only add a couple other points. First, I do not find Edouard Baer's a sympathetic character at all - he is very pushy and aggressive with Michele (Tautou's character) and it is a real turn-off from the beginning. The age difference between them is obvious and awkward, as Tautou really plays the wide-eyed, ditsy innocent in this film, to Baer's often angry and inscrutable character, not made any clearer by the jump-cut style. (Though I liked the cut and fade style a lot, in most places; it allowed the story to move steadily.) Second, while potentially a deep subject, the "religious quest" element is done in the air of a light romantic comedy, and this is at base slightly inappropriate and not carried off well. Third, the most interesting relationships in the film are arguably those between Michele and her troubled family, where we might see some healing and emotional growth, but these are not well and clearly developed at all. Michele has serious father issues, a primary source of her vulnerability which makes Baer's pursuit of her smack of exploitation and pedophilia.The above flaws in combination result in the impression that, though the work of a woman - Pascale Bailly - the film comes off slightly misogynistic. Tautou's character is made fun of, and not redeemed by positive developments in the story. Baer treats her like a child and is not disciplined by the story line for doing so; indeed, in the inconclusive ending we see him pushing himself on her again, with the hint that he will likely be allowed to succeed. Tautou really shines and is a pleasure to watch, but basically no other element of the film works well. Pas de cigare.

Lisa Like everyone else who has written in, I watched this film (and Happenstance) because I had seen Amelie and had fallen in love with Tautou and was hoping to relive the Amelie experience. This movie is as close as I have come, but of course, NOT Amelie. The fun parts of this movie were: learning about the Jewish faith through the eyes of a non-Jew, hoping that Tautou and Baer really do end up together, and I must mention all of Tautou's awesome outfits and hairstyles as a French "top model." Very fun! The movie a few interesting cinematic moments from a style standpoint, too. I felt that I got confused about the plot at points due to the back-and-forth cut sequences and thought maybe I missed something in translation? Or maybe it was just weak storytelling? Or maybe Americans like me just need to be led by the nose through the plot a little more? The great surprise for me was Edouard Baer. He is handsome, charming, gentle, and caring in his role of Francois, and I immediately fell in love with him myself. The movie nicely balances comedy and seriousness and has sat well with me in the days after watching it. As long as you're not expecting Amelie: The Prequel, I think you can watch this and enjoy the fun and beauty Tautou brings to the screen.

jenniferrehfeldt Audrey will never be able to play the great and wonderful character of Amelie again. Happenstance and this movie are HORRIBLE. Both movies have made me want to leave, but instead I end up staying to find out if her cute and adorable self ever comes out. Her hair is awful usually. Maybe it's just because of the director and her awful choice of script is why this movie blows. Either way, do not waste your time or money on this.