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Editorial Reviews
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Nathalie Baye and Sergi López are lonely lovers who meet through an ad in a singles magazine for anonymous sex and fall in love. Frederic Fonteyne's tender portrait of a brief affair is framed in flashback: the two lovers recall their relationship for an unseen interviewer (a technique that recalls Ingmar Bergman's Hour of the Wolf and Woody Allen's Husbands and Wives), putting on a tough, scarred front that hides their regret. In the flashbacks, however, Fonteyne captures a sense of discomfort and anticipation in their first meeting that turns relaxed and passionate as their relationship deepens. Baye's nervous smiles become genuine and joyful as she grows more confident in López's company, and he nicely straddles the line between nonchalant openness and emotional defensiveness. Fonteyne's naturalistic style is broken only for the almost surreal vision of the hotel where they meet: they pass through a hellish crimson hall before entering their room, a cool blue sanctuary--a heaven on the other side of purgatory. It was released under a different name in France, an ironic title that translates to A Pornographic Affair, but the film is a sensitive, delicate portrait of fragile souls who allow self-doubts and second guesses get in the way of their own honesty. --Sean Axmaker
Nathalie Baye and Sergi López are lonely lovers who meet through an ad in a singles magazine for anonymous sex and fall in love. Frederic Fonteyne's tender portrait of a brief affair is framed in flashback: the two lovers recall their relationship for an unseen interviewer (a technique that recalls Ingmar Bergman's Hour of the Wolf and Woody Allen's Husbands and Wives), putting on a tough, scarred front that hides their regret. In the flashbacks, however, Fonteyne captures a sense of discomfort and anticipation in their first meeting that turns relaxed and passionate as their relationship deepens. Baye's nervous smiles become genuine and joyful as she grows more confident in López's company, and he nicely straddles the line between nonchalant openness and emotional defensiveness. Fonteyne's naturalistic style is broken only for the almost surreal vision of the hotel where they meet: they pass through a hellish crimson hall before entering their room, a cool blue sanctuary--a heaven on the other side of purgatory. It was released under a different name in France, an ironic title that translates to A Pornographic Affair, but the film is a sensitive, delicate portrait of fragile souls who allow self-doubts and second guesses get in the way of their own honesty. --Sean Axmaker
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