Hellen I like the storyline of this show,it attract me so much

ShangLuda Admirable film.

Sexyloutak Absolutely the worst movie.

Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

elg-35534 To avoid spoilers I won't discuss the plot. I'll just say that the movie is about people, in all their strangeness, and you'll come to understand and care about even the oddest among them. It's an enjoyable movie. It contains some tasteful but very hot sex scenes that mean it's not for the kids.

lasttimeisaw Ozon's latest picture is a queer and lurid modern tale on human's sexuality, a consistent motif of his canon, and this time, he goes even further, transmutes the recently-departed Ruth Rendell's 1985 short story THE NEW GIRLFRIEND into a glossy drama-comedy, exploring the avant-garde conception of two people's realisation of their own sexual individuality, which leaps beyond the usual straight/gay/bisexual boundary. The link between David (Duris) and Claire (Demoustier) is Laura (Le Besco), she is David's wife and Claire's bestie since childhood, after giving birth to a baby girl Lucie, Laura passes away, which leaves both devastating, the film starts with Laura's funeral, she is buried in her wedding dress, then within five minutes, the narrative flips bracingly through Laura and Claire's growth trajectory until the present, when Claire speaks in her best friend's funeral ceremony and declares that she will adhere to her vow, to take care Lucie and David. By an incident, Laura surprisingly discovers that David is a cross-dresser, after the initial shock, Claire seems to find a new way to deal with Laura's death when David's female identity Virginia, sports Laura's dress and perfume, becomes a new replacement and wakes up her latent lesbianism which will damage her marriage with the unwitting Gilles (Personnaz). Ostensibly the film is developing according to a familiar pattern, as we witness David experience a full-blooming of his transvestite identity alongside Claire's assistance, which peaks in the heartfelt rendition of UNE FEMME AVEC TOI by a trans-singer in a night club. Duris delivers a brilliant turn in this gender confusion role, the incompatibility of his bony figure and very masculine face as a woman creates a ludicrous laughing point, it is always an award-worthy platform for actors acting-in-drag, Duris might not look as ravishing as Melvil Poupaud in LAURENCE ALWAYS (2012), but he defty galvanises warmth and fondness in David/Virginia. In fact, the film's mainstay is always on Claire, whose affection towards Laura can be spotted from earlier with yearning gaze, when she realises Laura is attracted to me, she represses her feelings and chooses a conventional marriage following Laura's steps. Only when she and Virginia take a getaway in Laura's childhood house, the long-dormant impulsion is resuscitated, here Ozon cunningly deploys a trickery in Claire's dream sequence to show viewers that Laura is the one she desires, not David, no matter how Virginia is appealing to her, in the end, David's male sex organ is the real deal-breaker. Demoustier plays Claire's gradual awakening inconspicuously, like her character, Claire is not a prima donna, an attention-grabber, she is pretty but more inward-looking. Demoustier's effort cannot be overlooked even though Duris' role is far meatier.Now to the downside, during the latter half, it seems that Ozon becomes slack when the shopworn car-accident is wantonly introduced to literally provide David a second chance to wake up in her new identity when all the lies and fronts are debunked, more cringe-worthy is she can only wake up after Claire dresses her up as Virginia and sings her UNE FEMME AVEC MOI. Also, Ozon's morbid emphasis on dressing dead body is too over under the context, there is no need to go that far. Finally the open ending, it is frustrating to leave the agreeable Gilles out of the picture without any indication since he is the most innocent one among them, he deserves a better treatment after all.

lukas-grajauskas It was just an appalling film. I wasn't even sure what genre it was...it didn't have the intensity needed to be a drama, no real psychological tension to be a thriller, nor was it a comedy - not at all funny, awkward, flat, poorly acted...or perhaps just horribly directed, but perhaps above all it was just an absurd melodrama that left me uncomfortable, very shady and so offensive: homophobic, transphobic and so disrespectful...and done so one such a subtle level, allowing characters to throw such casual lines as: "Lucy has been having a hard time...she lost her mom and now she has got a gay dad".... not a joke, not a sarcasm, but the general and naturally unchallenged and so easily it seems digestible thought by film's positive, and charming and exemplary character..and there was nothing in the script for Anaïs character to react this to.....it was absolutely flat..just bizarre. I felt more and more uncomfortable about this film, by how completely unbelievable and cliché its story and twists were, how stereotypical and superficial the main issue of the film was portrayed, I was embarrassed to sit and witness it, with its cliché showcase of glamour and rich life which was infused with meaninglessness that is celebrated as some sort of revelation in character's transformational journey - I mean it has to be the worst transgender film in the history of the film - no trans person could identify with this film, it's demeaning, disrespectful, doesn't do no justice and if anything darkens people's knowledge of what trans people actually go through, it creates nothing but a more shallow stereotypical outlook handed as an 'entertainment' inviting everyone to laugh AT the main character rather than WITH. Sadly, we got this instead of a film which stimulates an actual much needed dialogue and awareness with integrity, tenderness and raw material. I am so upset with this film, there were a few people who left before me and my biggest regret is that I didn't leave before them. I resent Ozon and I am not sure if I will ever go watch his another film....and I am disappointed that such delicately and subtly insulting film is being blindly screened....a sad day for a cinema.

writers_reign This movie had two strikes on it in my case; I don't much care for Francois Ozon and I positively dislike Romain Duris. What luck then that if boasts a standout performance from Anais Demoustier and a tasty supporting role from Aurore Clemente. Opening with Demoustier's Claire speaking at the funeral of her best friend Laura, an opening reel then limns in their lifelong attachment from their initial meeting aged seven in nursery school to Laura's untimely death six months after giving birth to Lucie. From the pulpit Claire vows that she will honour her deathbed promise to Laura to watch over Lucie, to whom she is godmother, and David. Though we are never privy to the circumstances both Laura and Claire appear to have landed on their feet spouse-wise and when Claire makes an initial call on David and Lucie she finds them in a house with what appears to have six or seven bedrooms, completely detached and with its own driveway. Despite this there is apparently no domestic help - odd with a six-month old baby in residence - and when no one answers the door Claire walks in and finds David in drag feeding the baby. After this the film has nowhere to go and turns into a one-trick pony. Initially repulsed Claire grows to accept David's transvestism, meeting him for clandestine shopping trips and 'girls nights out', deceiving her own husband Gilles. Duris fails to convince as either male or female but Demoustier is incandescent and single-handedly saves the film.