In this weird erotic tale, Claude Pierson explores the love life of a middle-class couple who lost their only son in a car accident, resulting in a sexual trauma that stops novelist Marc (Mauro Parenti) from feeling desire for his voluptuous wife (the always easy on the eyes Paola Senatore).
Pierson crafts quite a strange piece of film here, constantly oscillating between light erotic scenes - some porno inserts have been added to the French Canadian release, which was ironically placed in the "comedy" section of my video rental store - and drama. The mood is shifting, sending the viewer into confusion. The psychedelic editing sure doesn't help...
This one's been co-produced by France, where it was probably shot for the most part; Italy, where all the actors come from; and finally Canada... At one point Mauro Parenti says he'll write a novel in Quebec and we see some introduction shots of a very grey Montreal, and then nothing - he in fact comes back to Europe in the very next scene.
Apart from the scenes in which Paola gets it on, the presence of Lucretia Love as her best man-eater friend is notable. But the best part of it all is the loungey and highly enjoyable score by Armando Trovajoli, maestro of the rolling bassline & soft keys.
UN AMOUR COMME LE NÔTRE is in some ways enjoyable for a crazy completist like me, but it won't appeal to many, if ever these "many" can find a copy of the movie in the first place.
Pierson crafts quite a strange piece of film here, constantly oscillating between light erotic scenes - some porno inserts have been added to the French Canadian release, which was ironically placed in the "comedy" section of my video rental store - and drama. The mood is shifting, sending the viewer into confusion. The psychedelic editing sure doesn't help...
This one's been co-produced by France, where it was probably shot for the most part; Italy, where all the actors come from; and finally Canada... At one point Mauro Parenti says he'll write a novel in Quebec and we see some introduction shots of a very grey Montreal, and then nothing - he in fact comes back to Europe in the very next scene.
Apart from the scenes in which Paola gets it on, the presence of Lucretia Love as her best man-eater friend is notable. But the best part of it all is the loungey and highly enjoyable score by Armando Trovajoli, maestro of the rolling bassline & soft keys.
UN AMOUR COMME LE NÔTRE is in some ways enjoyable for a crazy completist like me, but it won't appeal to many, if ever these "many" can find a copy of the movie in the first place.
