6.0/10
508
10 user 19 critic

Post coïtum animal triste (1997)

The end of an affair from the woman's point of view.

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Cast

Cast overview, first billed only:
Brigitte Roüan ...
Diane Clovier
...
Philippe Clovier
Boris Terral ...
Emilio
Nils Tavernier ...
François Narou
Jean-Louis Richard ...
Weyoman-Lebeau
...
Madame LePluche
Emmanuelle Bach ...
Caroline
...
Copine Narou
Gaëlle Le Fur ...
Isabelle
Elodie Pong ...
Designer
Roberto Plate ...
Miguel
Olivier Lechat ...
Victor
Félix Dedet-Roüan ...
Basile
Jean Delavalade ...
Dedé
Jean-Claude Chapuis ...
Musical Classes Player
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Storyline

Diane, a Parisian of 50, a book editor married with two teen children, has an affair with a twenty-something engineer. He's Emilio, the flat-mate of François, a writer she's coaxing through a second novel. Her husband Philippe, who suspects and then confirms her infidelity, is the attorney defending an older neighbor who stuck a fork in her husband's jugular. We know Diana's affair will end, but how much damage will it do? Will Philippe emulate his murderous client, or will Diana's bathos play out as farce? Can Diana rescue herself from the self-indulgence that comes with lovesickness? Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Taglines:

Some people fall in love. Some people fall all over it.

Genres:

Drama | Romance

Certificate:

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Details

Country:

Language:

Release Date:

13 February 1998 (USA)  »

Also Known As:

After Sex  »

Filming Locations:

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Box Office

Budget:

FRF 11,000,000 (estimated)

Opening Weekend:

$64,785 (USA) (13 March 1998)

Gross:

$335,082 (USA) (11 September 1998)
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Company Credits

Production Co:

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Technical Specs

Runtime:

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Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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User Reviews

At its best when it captures the feverish substance of her passion
8 October 1999 | by (toronto) – See all my reviews

The movie is at its best when it just captures the feverish substance of her passion, which it does vividly and candidly with a striking lack of self-consciousness on Rouan's part. But in its specifics, particularly in how it sets up the various male reactions to her behavior, the movie often seems somewhat schematic and labored, if not tedious. Her husband is defending a woman who stabbed her husband in the neck because of his affair

  • as he practices and prepares for her defence he copes with his growing


knowledge of Rouan's adultery, and in that process can't help but argue in mitigation of his own wife; the mechanism seems clunky, if only because high-profile murders are such overly familiar, convenient thematic vessels for one thing or the other. The inspiration she provides to her main writer (who names his book after her description of a man's sweat) is too easy an external validation rather than a riding of the waves she creates for herself. The scenes of her trashed state are too much decrepit chic. Not that the overall trajectory doesn't more or less work, but the film constantly seems to be battling its own limitations, the restrictions it places on its central turbulence. The ending certainly seemed to me a very melodramatic signaling of redemption.


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