7.2/10
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41 user 132 critic

Heartbeats (2010)

Les amours imaginaires (original title)
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The story of three close friends who are involved in a love-triangle.

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(scenario & dialogue)
6 wins & 15 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
...
...
Désirée
Anne-Élisabeth Bossé ...
Jeune femme 1
Olivier Morin ...
Jeune homme 1
Magalie Lépine Blondeau ...
Jeune femme 2 (as Magalie Lépine-Blondeau)
Éric Bruneau ...
Jeune homme 2
Gabriel Lessard ...
Jeune homme 3
Bénédicte Décary ...
Jeune femme 3
François Bernier ...
Baise 1
Benoît McGinnis ...
Baise 2 (as Benoit McGinnis)
François-Xavier Dufour ...
Baise 3 (as François Xavier Dufour)
Anthony Huneault ...
Antonin
Patricia Tulasne ...
Coiffeuse
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Storyline

In a story interspersed with interview tales of romantic pitfalls, friendship turns to romantic rivalry for gay man Francis and straight woman Marie when a veritable Adonis named Nicolas enters their lives. Sexual tensions mount as Francis and Marie await Nicolas' show of preference. Written by statmanjeff

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Certificate:

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Parents Guide:

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Details

Official Sites:

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Release Date:

29 September 2010 (France)  »

Also Known As:

Heartbeats  »

Box Office

Budget:

CAD 600,000 (estimated)

Opening Weekend:

$7,197 (USA) (25 February 2011)

Gross:

$62,985 (USA) (15 April 2011)
 »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The movie is inspired (to some extent) by Woody Allen 's Husbands and Wives (1992). See more »

Goofs

When Nicolas and Marie by accident run into Francis at the Vietnamese restaurant, Francis introduces Nicolas to his friend Antony. However, in the first scene of the movie you can see that Nicolas already has met Antony as they all sit at the same dinner table. There is nothing to say that either Francis didn't realize they knew each other, or that Nicolas and Antony were merely playing dumb and avoiding an awkward situation. See more »

Quotes

Francis: I love you. I really want to kiss you. I don't know why I'm telling you this.
See more »

Connections

References My Fair Lady (1964) See more »

Soundtracks

Keep The Streets Empty For Me
Written by Fever Ray (as Karin Andersson Dreijer and Cecilia Nordlund)
Performed by Fever Ray
Courtesy of Rabid Records
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User Reviews

 
It's not love, but that's the point
18 September 2010 | by (France) – See all my reviews

I agree with another reviewer that love is not the real subject of the film. The characters think they're feeling love, and they're certainly looking for love, but in such a shallow and conniving way they're incapable of getting beyond mere sensuality at best. This is a film which starts out superficially, as superficial as its characters. Their lack of depth is underlined by the interviews of more interesting people that we would almost rather be following, but we're stuck with this trio of narcissists trying to impress each other through attitude, clothes, and money-- each locked within his competitive self and each masturbating in his or her own way. The director's own vanity fits in perfectly with his fetishist approach, the Wong Kar Wai-like sensual slow-motion to heighten gesture and make us take a long hard look at these high-strung game players.

The viewer must be patient and wait for the second part when the film, in dealing with the repercussions from the narcissism of the first part, takes on depth. It is during the last twenty minutes that the actor/director succeeds in dealing with real emotions, not the imitation ones of the first half. Now a new tension sets in that builds to its vociferous climax where the actors are required to go beyond what they have demonstrated up to this point. Watching these neurotic Montréalians (when they finally grow up, they can be the manic-depressive characters in a Denys Arcand film), the viewer goes through the gamut of his or her own memories of attraction and rejection, bouncing around like the ping-pong balls that the expressive actors represent in their own attraction/flirtation/appeasement fluctuations. In fact, the more the film is watched with introspection, the more relevant it becomes.


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