True, European movie are more interesting then American Movie. This is a fact. More idea. This one's idea is not so unusual - the quest for pleasure in a pure hedonistic way, unusual is the language. It's has his good parts, i know...like Freud thought..every thing is about sex, here in a egoistic way, but is to much like Eve Ensler's monologues and the characters are much too caricatured. And another thing - maybe i'm too mean, but the movie seems like a soft-core porn, it tries to be a lesson of life, a feminist view of sexuality, to make the Clitoris the new god of pleasure (instead of the phallus), but is to descriptive for a family movie and not enough for a adult movie.
2 Reviews
Not enough pleasure for the viewer
kinsayder9 October 2005
After lecturing her sister on the evils of fake orgasms, Louise, a self-obsessed twenty-something, gets her come-uppance the next morning when she discovers that she has "lost her clitoris", a misfortune she doesn't hesitate to communicate, loudly and explicitly, to anyone who'll listen.
It's a shame that so many of the characters and situations in this movie, from the gay best-friend to the sex guru with his herbs to the celibate neighbour to the old ladies discussing orgasms, feel like a parade of comedy stereotypes. The falseness and banality of these sketch-like scenes conflict awkwardly with the pseudo-documentary discussions of female sexuality that the director inserts with great earnestness throughout the film.
The film's saving grace is Marie Gillain, who pulls off the near-impossible task of making the infuriating, egotistical Louise both watchable and sympathetic.
It's a shame that so many of the characters and situations in this movie, from the gay best-friend to the sex guru with his herbs to the celibate neighbour to the old ladies discussing orgasms, feel like a parade of comedy stereotypes. The falseness and banality of these sketch-like scenes conflict awkwardly with the pseudo-documentary discussions of female sexuality that the director inserts with great earnestness throughout the film.
The film's saving grace is Marie Gillain, who pulls off the near-impossible task of making the infuriating, egotistical Louise both watchable and sympathetic.
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