A young woman who is in love with a married doctor becomes dangerous when her attempts to persuade him to leave his wife are unsuccessful. However, when things are seen from his point of view, the real situation becomes clear.
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Sarah tells Paul that she wants out of their marriage; the next day she disappears. A year later and Paul along with their children return to his childhood town to start anew after the loss of his wife and their mother.
Angelique, a young student, is in love with a married doctor. We see her attempts to make him leave his pregnant wife, but he does not appear for meetings or finally the booked journey to Florence. Then the movie is turned back to the beginning, and the view changes: We are now following the view of the doctor instead of Angeliques. And things look quite different now... Written by
"He Loves Me, He Loves Me Not (À la folie... pas du tout)" is a marvelous French twist.
The re-wind technique of different perspectives, descended from the Japanese "Rashomon," has combined entertainment with philosophical insight by the German Tom Tykwer, in such as "Run Lola Run," and with socio-political commentary in the Mexican "Amores Perros." Add in the American know-how of creepiness from "Fatal Attraction" and "One Hour Photo," and the French writer/director Laetitia Colombani, mais oui, applies it all to matters of the heart.
She uses both a rational and visual approach to an enormously entertaining take on "she says, he says"/"he loves she who is in love with he who is in love with she" etc. that is an unpredictable roller coaster.
One lead character is a cardiologist (the particularly hunky Samuel Le Bihan) and the other plays on our expectations of that gamin par excellence Audrey Tautou of "Amelie." We see her at first surrounded by flowers and heart decorations so of course our sympathies go out to her. Ah, how our interpretation of those wide black eyes can change! And if only Hollywood actresses would be willing to allow their images to be so cleverly manipulated.
Our other stereotypical assumptions also lead to other surprises. Unlike Hollywood, this movie respects our intelligence, and leaves us to figure out what's going on and anticipate what will happen after the end.
Just like it took awhile to feel good about "Singing in the Rain" after seeing "Clockwork Orange" and a certain classic rock song after "Reservoir Dogs," you may get a frisson of the creepies from Nat King Cole after this.
While you not may feel good at the end about particular characters and what they have done or will do, you will feel good about moviemaking and going to the movies.
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