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The Pleasure Is All Mine (2004)
"Tout le plaisir est pour moi" (original title)

5.4
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Ratings: 5.4/10 from 466 users  
Reviews: 2 user | 4 critic

A beautiful, self-centered young woman's life turns upside down when she suddenly "loses her clitoris" (i.e. her ability to have an orgasm).

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Edit

Cast

Cast overview, first billed only:
...
Louise
...
François
...
Félicie
Brigitte Roüan ...
Nicole
Tsilla Chelton ...
Gaby
Lionel Abelanski ...
Oscar
Idit Cebula ...
Judith
François Marthouret ...
Gérard
Agathe Teyssier ...
Suzanne
Patrick Catalifo ...
Paul
Laurent Bateau ...
Thomas
Catherine Ferran ...
La gynécologue
Philippe Duclos ...
Le sexologue
Emilie Lafarge ...
Annie
...
Raoul
Edit

Storyline

A beautiful, self-centered young woman's life turns upside down when she suddenly "loses her clitoris" (i.e. her ability to have an orgasm).

Plot Summary | Add Synopsis

Genres:

Comedy | Drama | Romance

Certificate:

See all certifications »
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Details

Country:

Language:

Release Date:

18 August 2004 (France)  »

Also Known As:

O Prazer é Todo Meu  »

Box Office

Budget:

€3,920,000 (estimated)

Opening Weekend:

$604,553 (France) (20 August 2004)

Gross:

$604,553 (France) (20 August 2004)
 »

Company Credits

Show detailed on  »

Technical Specs

Color:

Aspect Ratio:

1.85 : 1
See  »

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User Reviews

Not enough pleasure for the viewer
9 October 2005 | by (United Kingdom) – See all my reviews

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.


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