Heartbeats

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.

I love the pace and styling of this modernisation (perhaps) of Jules et Jim. I love the hyper-sensed colouration and classy music-video slo- mo's, with the characters holding their lofty pretty heads even higher, set to a beautifully hip soundtrack.

Moni Chakri, the elegant brunette, who loves Audrey Hepburn is Dolan's character's best friend; hanging out and sharing moments, rather like Will and Grace. When cherubic, blonde curly haired Neils Schreider lands in their pretty laps, all sorts of questions about sexuality are thrown open and explored. It's all done with dignity and poise; no-one screams or hits anyone.

22 year old director Xavier Dolan, (who also stars) for this French- Canadian feature, has got his designer eyes set firmly on indulgence and unpretentious superficiality. Sexual rather than explicit, it is never rude and no one farts, pukes or is seen going to the toilet. These people are to be seen rather than to 'be'; their fairly shallow lives are ones filled with fairly petty annoyances, rather than life and death scenarios.

Sadly, the viewer doesn't really get to like them enough to care too much, though maybe surprisingly, they weren't as precocious or annoying as they could have been. I adopted an approach of just letting the rich visuals and sensual music flow gently over me, rather like chocolate sauce slowly rolling in folds down a steamed pudding.

Nothing knew is said either and perhaps this helps; anything jarring or monumentally profound would be just too much and spoil the pleasure. Not that it's quaint or twee, mind you but this is definitely bespoke designer fitted kitchen drama rather anything to do with an actual sink.

This is a great little film but you have to be a little patient. The writer/director and star, Xavier Dolan, has done a masterful job in telling a simple story in a very interesting way. The writing is restrained and a study in the economy of words. I loved it. Dolan's directing is seasoned and insightful. He stages his scenes with lots of color and creative camera angles to amazing effect whether it's the color of an umbrella on a rainy day, a dress, or common inventory on a store shelf. It is visually stunning and stylish. Between Dolan and the other two leads played by Monia Chokri and Niels Schneider, you have a powerfully subtle ensemble. I wasn't so sure about Schneider until near the end when I realized how aloof his "NIko" had to be in order for the film to work at the end. He looks like he stepped off of a Greek coin, and at first you get the impression he's just there to look pretty. Not so. Dolan and Chokri give outstanding performances as best friends, who are not exactly single, but eschew the real people in their lives for the imaginary one they dream to snag. This is not a movie to be over analyzed. Just watch it and enjoy. There's a false ending that is adorable. The real ending, about five minutes later, just made me laugh out loud. If you like good films and enjoy watching boundless creativity on display, watch this one. It might be criticized by some for being "slow". It's not. It real.

A film using memories and the gestures of characters and working in skin of delicate memories. About love, loss, friendship, need of the other , crumbs of New Wave , Antinous and self definition from the pieces of past. A beautiful cinematography. And the familiar universe of Xavier Dolan. Short, a sensitive, charming, seductive film, about nuances of feelings, expectations and choices of the other, about refuges. The film is almost a revelation for atmosphere. For precise delicacy and admirable elegance. And for the manner to use the experiences of viewer as basic piece of film seduction source.

In the new film auteur sweetheart Xavier Dolan's sophomore effort we receive a stylish and vague story about a passion for love. A love shared by two friends Marie (Mona Chokri) and Francis (the all-star Xavier Dolan) towards a sumptuously corny blond-haired egotripping Adonis Nicolas (Niels Schneider) a.k.a. Nico. Set to some ear-tasty music fronted by a french Dalida sung version of "Bang Bang" we receive a story about the tensions, exasperations and unfulfilled promise of expectations. Intermingled occasionally by quasi-documentary tidbit lessons of love from random people strangely balancing on the edge of mockumentary territory.

All the above is set as a backdrop to a plethora of homages to french New Wave, Jim Jarmusch, Audrey Hepburn and... Wong Kar-Wai. Albeit the nods to Kar-Wai are more than slight, as to an extent it basically felt like Dolan was basically attempting a quasi-farcical remake of the Asian pivotal work "In the Mood for Love". All inclusive. Featuring slowed-down long trailing shots, coloured cinematography, brilliantly focused sensual scenes, retro music and even an extremely overdone love poem to cigarettes and smoke. After basically ripping off Christopher Doyle's cinematography Xavier Dolan pasted together a piece of post-post-modernism, but without any of the subtle magic, power and enticement of Kar-Wai's original. The additional issue lies with the overusing of slow shots coupled with barrages of music, that lack ingenuity or class, instead bring about a repetitiveness problem and most of time seem like a tasteless parody of Doyle. Not to be too hard on Doyle even Kar-Wai himself was unable to imprint his own style into a Western film ("The Blueberry Nights"), which seems increasingly to prove that his solutions are specifically best made in Asia. Nonetheless I would go as far as to say that Dolan intended such strong borrowing after noticing the strong story similarities, as both movies are not about love itself, but about the longing for love.

Leaving the issue of almost blatant plagiarism the movie does show a lot of promise on a purely plot level and to some extent this promise is fulfilled. After slowly plodding out the story itself it does manage to engage, even though neither Dolan or Chokri have the stage presence or impact to actually convey their emotion. Almost no tension is created between characters and I found most scenes lacking dramatically. The only actor who managed to deliver was Schneider, but his role was being an egocentric and slightly clueless love-boy, so as such he was a secondary character.

The movie faces additional issues with overly worked lines with pop-cultural reference and tough words, which intend to convey a feeling of intellectuality, but are essentially unable to gloss over the fact that this seems forcibly awkward bordering on banal. Additionally other dialogues lack focus or the initially interesting idea is overused to absurdity (especially regarding people losing their head and gibbering nonsense under high emotionality). Given the movie lasts over 100 minutes with ideas for about 30-35 minutes of intriguing plotting the rest is filled with slow-motion shots with music, some uninspiring chatter and some utterly pointless forgettable side events. Despite some admirable qualities "Les amours..." seems a bit childish plot-wise and before anyone can really take Dolan seriously he really seriously needs to... well... grow up...

To add to insult the interloping interviews, which occasionally cut into the main story, lack focus, are mostly tiresome and forcibly intellectual self-styled hipster sobbings. Save for one woman with glasses, which actually adds some interesting depth to the movie. Plus the ending three minutes or so of the movie are pointless, petty and basically are a result of the overzealous director wanting to inflict some badly focused revenge...

On the positive side the use of music is perfection, whilst the cinematography is spectacularly beautiful and drenched in colour. The movie was impressive on a script level to the extent that given a bit more experience and a touch of ingenuity Dolan can actually reach the stars and make a classic movie. But this attempt is just a far cry to divinity.

I am fully aware that this may be a minority opinion, but I can't gloss over the fact that watching this movie was tiresome, uneventful and had an overwhelming feeling of repetitiveness. To sum it up: Xavier Dolan is no Tony Leung, Mona Chokri is no Maggie Cheung and "Le amours imaginaires" will never be "In the Mood for Love".