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."

shamsza Brilliant feature! Absolutely loved the twist portrayed in the plot of this movie. It was indeed gripping from the start! As the viewer, being ignorant of the twist that is to follow, it is easy to sympathize with the young, care-free character who is head over heels in love, in the treatment or lack of acknowledgment from her "lover". Also, at the same time, it is easy to feel hatred toward her "lover" for the uncaring treatment she receives. Her love is merely a perception of what she wants and allows herself to see and feel. A strong message and reminder to us all as viewers, that our interpretation of anything can easily be influenced or rather clouded by just what we feel. Totally loved it!

R. Ignacio Litardo This is a film for Audrey Tatou's fans.The young directress, from "Mes stars et moi" does very feminine films, not in the best sense. Perfect setting, chic everything, Art is all around, romance is all that matters, nutty, hysterical women, catchy pop tunes... Tatou does Angelique, but supposedly "mad" now. As she's not convincing at all, the movie falters.Beautiful Isabelle Carré, who starred "Maman est folle" and played the little girl in the gifted "Les enfants du marais", plays the doctor's wife, a character which never really leaves ground. Interestingly enough, she starred "Anna O." where she's, guess what, a loner who becomes in mad love with her doctor. ...Clément Sibony, who starred "l'envol" with Isabelle, is reportedly pretty handsome according to my female company while watching the film. He's very convincing in an unconvincing role. Nice Élodie Navarre, from Reporters (TV) and Love, etc. is wasted here, her character suddenly gains importance, for then disappearing. Héloïse's character is insipid, which is a pity for it probably was supposed to serve as counterbalance to Angélique, but goes off the story at the time it should be more present, that is, in the last 1/3rd of the movie.I've been told from a reputable cinema buff this film is a rip-off from "Fatal attraction" and the less obvious "The Crush (1993)" starring Alicia Silverstone as a 14 year old, the same mental age than Ángelique.I never understood the genre of the film. Creative Amazon reviewer Simon (ON) writes "romantic thriller" which is probably even right, although it proves that him as well as other reviewers can be more intelligent than the film itself.

Islandeye He Loves me, He Loves Me Not – The very title conjures up images of lovelorn girls bemoaning their romantic tribulations, falling in and out of love and pursuing the un-pursuable. At first it seems like the director makes the typical plot work, with a vibrant visual eye and knack for keeping the relationship at a fast but believable pace. For a time it's ridiculously but bearably sugary, even the opening credits are laid over images of love heart merchandise, with a delightful bells and whistles score chiming out for new romance in the background. As expected he state of the relationship gets progressively worse, the tone then fades slowly into a darker one, becoming like increasingly like a tragic melodrama. Angelique, the central character, goes overboard and overreacts to the downward slide – As happens due to love, so we sympathise. Then everything changes, a monumental twist occurs and the film changes into a different one. The audacity in such a move isn't because it's especially deceptive or unjustifiable (ala The Usual Suspects), but because it so fluidly and intelligently reinvents everything we've already seen – But yet still ties in with all we've witnessed, making complete sense because of how it is implemented within the boundaries of the film. The sweetness tastes bitter, pleasant events become darkly comedic and the emotional tragedies of the first half have to be urgently reconsidered.Audrey Tautou, as well as playing the Amelie charm and feminine charisma wonderfully, adds a new level of oddity and disturbance rarely seen in roles played by young women. In tune with the films development her characters real nature comes out gradually, but because she plays up the quintessential lightness it's almost hard to believe when more is revealed about her. I found myself asking "How could Audrey Tautou do that???", which was obviously the reaction the director and Tautou herself wanted to project – With her image adorned to the character, the eventual narrative twists and re-assessments that follow are made all the more hard to swallow but even more interesting to consider. An inspired piece of casting and one of many brilliant uses of subversion the film employs. The cinematography carries the same structural and performance development, with the first section making use of slow-motion, colour and intentionally formal methods, in many ways lulling the viewer and taking advantage of the expectation that what we see is the one and only truth. The second half appears more shadowy, with an emphasis on hand-held movements. More scenes are inside with a greater feeling of paranoia and worry, with very little bright light or colour. The background appears to be out of focus more often than not, whether this is the case or I just was more aware of it, looking out for another threat, after the sudden burst of unpredictability the twist unleashes.Even with the elements of romance and suspense, the director manages to squeeze a perfect amount of dark humour out of genuinely macabre situations. Not a single joke is told, but through manipulation of musical and narrative cues and clues, there are some hilariously dark and bizarre comedy elements at play – Not the kind of humour I personally would expect from the romance genre, least of all French romantic cinema. Equally intelligently worked in are some of the more grim strands, looking at the film as a whole some of the revelations are quite shocking, but the subtle humour and tragedy are both secondary to the expertly weaved story structure and character expositions. He Loves Me, He Loves Me Not is riveting because of the director's ability to celebrate, indulge in, and subvert convention. In a "Why didn't I notice that?" fashion the director toys with the fundamentals of perception, in the internal sense of character focus and reaction, and the external case of playing with the viewer's engrained expectations of structure and narrative. The plot does slightly peter out towards the end, as all of the pieces of the puzzle have to naturally fall into place, but we're left looking at a pleasantly surprising, challenging work of great excitement. One for those who like a little bit of everything in their cinema.