Los amores imaginarios

Les Amours Imaginaires is potently beautiful purely based on its plot and the way the story is told. Its content is universal which allows anyone to relate to the story. It speaks about love, loss, rejection, and how love is all about our individual perceptive. This complex story breaks the stereotypes of sexual identity and shows that we cannot always chose who we fall in love with.

Dolans camera use and choice of colour is visually stimulating and beautiful to watch. He captures the beauty of Montreal and the culture that comes with it. The casting is incredible making the story very realistic.

What is even more important is that Les Amours Imaginaires is a story of young love told from the perceptive of a young man. We often see films about youth written or directed by film makers of a different time. This is a film that has a modern perceptive on the complexities of love.

If you have ever been in love, this film will be the speak to you like no other.

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.

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.

Young director Xavier Dolan's most recent feature was easily the find of the London Film Festival for me. Funnily enough I almost walked out, having come from an extremely dour realist movie (Mike Leigh's Another Year) and been presented with an extremely stylised and fairly ironic confection, and thus being quite dysphoric and skeptical. But it really blossomed out to superb effect. Some critical horses have baulked at the first fence though! The film concerns young love. The two leads of the story are both searching for perfect love and attempting to create the perfect personas to market themselves. Marie is just lovable, she creates this image where she dresses in vintage fifties clothes, with hair and makeup to match, sends letters in black envelopes addressed in gold glitter pen, she reads all the right stuff, including Quebecois poet Gaston Miron, to impress boys with her intellect. Her friend, rival and sometimes lover Francis (played by Xavier Dolan himself) is 5/6ths gay (by the Kinsey scale, which is mentioned in the film) and both are after the same man, Nicolas, who has blond curls and is straight out of an erotic dream of Cocteau (shots of Cocteau drawings are edited into the movie at one point).

Love here is all about style, our "heroes" turn up to only the most fabulous parties, where only exactly the right music plays, Moet flows generously and where only the beautiful people lounge. Have you money, looks, wit, are you fun, are you educated, these are the criteria for these young folk in their quest to get together. Although the alternate title to the film "Love, Imagined" is accurate in many respects, I think it underestimates the headiness and the glory of these admittedly judgemental and narcissistic love throes.

The soundtrack is mostly superb and will be finding its way to my MP3 player. One thing I would criticise though is the repeated use of Bach Cello Suites played over tepid love scenes, it just comes off as odd. Dalida's Italian language version of Bang Bang (... you shot me down) is also repeatedly played and works to much better effect. Favourite party music for me would be Exactement by Vive la Fête (lyrics repeat "Adorable Formidable").

I like the refreshing honesty with which people talk in the movie about love and rejection, one woman saying it takes her a year to get over, which sounds about right to me (coming up on 11 months myself, with the end in sight!).

Absolutely loved the ending when Nicolas walks up to Marie and Francis in the party, won't spoil it but I laughed a lot and had to suppress a whoop. Definitely a feel good movie despite subject matter that could be handled in a much more downbeat manner.