7.2/10
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44 user 136 critic

Heartbeats (2010)

Les amours imaginaires (original title)
Not Rated | | Drama, Romance | 29 September 2010 (France)
Trailer
1:00 | Trailer
The story of three close friends who are involved in a love-triangle.

Director:

Xavier Dolan

Writer:

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

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Cast

Cast overview, first billed only:
Monia Chokri ... Marie
Niels Schneider ... Nicolas
Xavier Dolan ... Francis
Anne Dorval ... 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 Gabriel Lessard ... Jeune homme 3
Bénédicte Décary ... Jeune femme 3
François Bernier François Bernier ... Baise 1
Benoît McGinnis ... Baise 2 (as Benoit McGinnis)
François-Xavier Dufour François-Xavier Dufour ... Baise 3 (as François Xavier Dufour)
Anthony Huneault ... Antonin
Patricia Tulasne 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

Taglines:

Love me or leave me. See more »

Genres:

Drama | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook [Canada]

Country:

Canada

Language:

French | English

Release Date:

29 September 2010 (France) See more »

Also Known As:

Heartbeats See more »

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Box Office

Budget:

CAD 600,000 (estimated)

Opening Weekend:

CAD 75,445 (Canada), 13 June 2010

Opening Weekend USA:

$7,197, 27 February 2011, Limited Release

Gross USA:

$62,985, 17 April 2011
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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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

Marie's and Nicolas' head positions and facial expressions don't always match up between camera cuts outside the theater. See more »

Quotes

Nicolas: Eating your cherry, Terry?
Francis: Cherries are too sweet.
Marie: Fudge is 17 times sweeter than cherries.
See more »

Connections

References Blade Runner (1982) See more »

Soundtracks

Cet Air-là
Written by Robert Gall and Alain Goraguer
Performed by France Gall
Courtesy of Universal Music Canada
See more »

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User Reviews

 
It's not love, but that's the point
18 September 2010 | by wickestSee 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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