Lucybespro It is a performances centric movie

Spidersecu Don't Believe the Hype

SparkMore n my opinion it was a great movie with some interesting elements, even though having some plot holes and the ending probably was just too messy and crammed together, but still fun to watch and not your casual movie that is similar to all other ones.

Merolliv I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

cricketbat If you haven't seen this film yet, please do so. Don't look up a plot summary or anything - it's much better when you have no idea what is going to happen. He Loves Me, He Loves Me Not has an interesting story told in a clever way. Audrey Tautou's performance is memorizing. This is a great film to show people who "don't like movies with subtitles."

morrison-dylan-fan Reminded of the sweet film Amélie when talking to a fellow IMDber about the Cinema Du Look movement,I felt that it was the perfect time to catch a glimpse of its lead star: Audrey Tautou.Planning to get Tautou movies on DVD,I got very lucky and stumbled on a movie of Tautou's online (with English Subs!) which led to me getting ready to pull the petals of love.The plot:Running into neighbour Dr.Loïc Le Garrec, Angélique finds herself quickly falling in love.Becoming obsessed with Garrec, Angélique starts making plans for them to go on holiday and to start a family. Learning that a patient is suing Garrec after they got into a fight, Angélique decides to pay the patient a visit,which causes the patient to die of fright. Seeing these events as making their love stronger, Angélique soon discovers that Garrec has a completely different perspective on their romance.View on the film:Taking the bones of the Erotic Thriller,the screenplay by co- writer/(along with Caroline Thivel) director Laetitia Colombani turns the sub-genre on its head with a quirky delight,which gives the extreme distance that Angélique goes to express her love a distinctively quirky edge. Cutting the title in half on a specific event,the writers brilliantly switch the films mood from playful Comedy to dark Thriller via giving Angélique's side a lightness that keeps everything skin-deep,which digs in as Garrec starts to becoming aware of the unfolding nightmare.Going blue for Garrec,director Colombani and cinematographer Pierre Aïm play the love game with a kind of blue,as stylish deep blue's soak up the romantic, breezy mood Garrec casts over Angélique.Opening up her private life, Colombani whirls the movie in a maze of colour, scatted across the screen in eye-catching, ill- fitting patrons matching the odds and fading ends that Angélique has used to make her dream romance painting. Trapped in an unknown romance, Samuel Le Bihan gives a great performance as Garrec, fuelled by Bihan giving Garrec busted nerves over the "gifts" Angélique sends him.Looking like a broken china doll, Audrey Tautou gives an excellent performance as Angélique,whose quirky warmth Tautou cleverly uses to boil a peculiar viciousness,which spills over as Angélique wonders if her loves me,or he loves me not.

shahanahallie I totally loved this movie as it is not our everyday typical romance movie where the girl lands up with prince charming. This movie is told from a complete different perspective and in the beginning we only view the movie through Angeliques eyes. I honestly felt really bad for her,but as the twist is unraveled and the truth is revealed I was quite happy that she landed in a psychiatric facility and that the Dr and his wife gets back together! The ending was gripping to me as I kept wondering what will happen next.I wonder if there will be a part 2 in the future Iwould really like to know what her next move is.

Graham Greene He Loves Me, He Loves Me Not (2002) - which is a not entirely accurate interpretation of the original French title "À la folie... pas du tout", but regardless, is one that does an adequate job of developing the film's narrative preoccupations and central game within the structure - is an enjoyable film that works, despite the limitations of its obvious gimmick. Clearly, this isn't the first time that a filmmaker has played with the idea of a shifting narrative perspective - with one of the earliest examples being Akira Kurosawa's historical masterpiece Rashomon (1950) - but regardless of a sense of "been there, done that", the film remains fresh enough to succeed and reward the audience, even with the benefit of repeated viewings. Much of the success of the film is down to the mood that is established in the first half of the film, the subtlety of the performances and the ironic appearance of Audrey Tautou, then fresh from the success of Jean-Pierre Jeunet's frothy modern-day fantasy Amélie (2001).Unsurprisingly, director Laetitia Colombani seems desperate to tap into the style and iconography of Jeunet's film, with the full-colour wonder of Bordeaux seeming like a candy-striped fantasia here; with the lush pastels, giddy camera movements and a larger than life approach to the character and the psychological world that they seemingly inhabit. This is directing at its absolute richest, with the lack of any kind of obvious delicacy and the particular use of design and mise-en-scene creating just the right mood of fantastical abstraction for the eventual shift in tone to take effect.Tautou's performance as the seemingly bright and breezy Angélique - her name, yet another delicious pun on her very angle-like appearance in the context of Amélie - is much more intelligent and demanding than the earlier scenes of the film might suggest; with Tautou having to walk a delicate line between beguiling innocence and adorable charm, with the much more dangerous and obsessive qualities that ultimately make her character detestable and entirely unsympathetic. The switch in tone is seen inverted somewhat by the performance of Samuel Le Bihan as the object of her affections; beginning the film as a cold and immediately dislikeable character and ending it as a sympathetic hero. His performance is perhaps even more subtle than Tautou's, with the success of the film relying heavily on his ability to occupy two completely different stands of narrative simultaneously, while at the same time, still leaving us guessing as to the intentions of his character.As a result, the film manages to succeed on a number of levels; as a light-hearted rom-com, a dark psychological study, and a twisted thriller all jostling for our attention simultaneously. As the perspective switches back and forth the real games within the narrative become clear and the allusions to the title begin to make sense. I wouldn't go so far as to call it a masterpiece, as there are some obvious minor flaws... chiefly, the later portrayal of Angélique as she eventually becomes the most hateful of characters. The final scene also leaves something of a bitter aftertaste, though it is clever and definitely works within the context of the rest of the film's dark, ironic humour.Regardless of these slight issues, He Loves Me, He Loves Me Not is a rich and imaginative film that presents a story that could have quite easily become a hopeless cliché as something that is instead much more fun and delightfully eccentric. The central performances from Tautou and Le Bihan anchor both sides of the story, while there is fine support from Isabelle Carré, Clément Sibony and Sophie Guillemin, who each have to act and react in different ways to the ever shifting narrative. You can see it as a novelty if you like. Certainly, as I stated above, the central experiment with the narrative is something of a gimmick, but I feel that the film as a complete piece of work more than overcomes any such minor shortcomings. Take it for what it is and the film will reward... i.e. an enjoyable and sometimes shocking work, designed to entertain and engage on some vaguely thought-provoking level.