Le nom des gens

What can I say, In a sea of substandard American movies and mediocre French ones, this movie stands out like a beacon of light, celebrating life's highs and lows in all its complexities. Very reminiscent and certainly worthy of Radu Mihaileanu's movies. It delves into subjects such as inherent racism, family identity problems and the Holocaust. Each character is flawed, but in very different ways that help build complexity into the plot, in the many ways it brings opposites together - sometimes in a positive way, sometimes not. Just wonderfully written, offbeat with subtle humor all the way through. An incredible thought provoking script, wonderful acting and brilliant casting. Watch it and enjoy.

I think this part of the official IMDb page sums everything up:

Trivia While writing the script, Michel Leclerc and Baya Kasmi didn't have a full story, but rather sixty pages of situations stemming from the idea of a girl who sleeps with her political opponents.

It shows.

The movie makes you laugh sometimes but we have seen the Manic Pixie Dream Girl so many times that it isn't charming anymore. It's a step away from being annoying.

The worst part of the movie is how everything solves rather quickly and there are so many loose ends. You will have a good time but it is not at all the masterpiece some commenters here argue it is.

I must have watched a French comedy and put the titles of all the films previewed on my Netflix list, because they keep coming. Bienvenue! This 2010 film from France is the latest—a pleasant farce directed by Michel Leclerc and written by him and Baya Kasmi. It won three César Awards in 2011, including for best writing. The story is about a young woman who uses sex as a weapon to persuade conservative politicians—men whom she considers "right-wing" in general—to embrace more liberal attitudes. From this comes some satirical moments, too, touching on the impermanence of supposed firmly held beliefs and the pitfalls of stereotyping ethnic and religious groups based simply on how they look or what their names are. Half-Algerian, the young woman's name is Baya Benmahmoud,and she says, "no one in France has that name." But she tackles one person too many when she confronts Arthur Martin—"15,207 people in France have the same name," he tells us—a middle-aged scientist who does necropsies on dead birds, in order to detect possible human illnesses. Why are you scaring people? she demands to know at their first confrontational meeting. The free spirit and the buttoned-up scientist are, of course, destined to fall for each other. The filmmakers show us how the two protagonists do not escape their childhoods, and we see them as children, as children commenting on their adult selves, and the fireworks when their polar opposite families, alas, meet. In his New York Times review, Stephen Holden says the movie "has the tone and structure of early-to-middle Woody Allen,but infused with a dose of Gallic identity politics." Sara Forestier is charming as the irrepressible extrovert Baya (she also snagged a César), and Jacques Gamblin is a persuasive match. A fun movie when you just want to be happily entertained (note: nudity)

The Names of Love is one of the most joyous and intelligent comedies I've seen in many years. It's playful, romantic, political, sexy, and filled with delicious performances! Sara Forestier is an absolute delight as Baya Benmahmoud, who takes the slogan "make love, not war" quite literally. She uses her intelligence and beauty to seduce bigots around her and entice them to change their ways. Jacques Gamblin is perfect as the much quieter Arthur Martin, who crosses paths with Raya and has never met anyone like her. The romance that ensues is hilarious and touching. The parents of both characters are also unforgettable characters. Poor Arthur's parents, for example, are always investing in the wrong technology: the Betamax instead of VHS, the laserdisc, a TV remote control with an extender that reaches across the room to change the channel....Rich, creative, playful in ways that remind us of the true joys possible in film!

You will never change your political opponents' minds by arguing with them, but what if you have sex with them? Baya Benmahmoud (Sara Forestier) lives her life by this mantra. She is an ultra-leftwing idealist who sleeps with right wing fascists to convert them politically. She even keeps a scrapbook of her successful conversions; most of them are now some sort of shepherd. While listening to bird-flu expert Arthur Martin (Jacques Gamblin) in a radio station one day, Baya bursts through the studio's door and argues with him on the air that if you can't trust ducks, then what is this world coming to? This is a very amusing argument and also makes for a humorous lead character introduction.

Any other film, such as an American one, would construct Arthur as a rock solid conservative and make it Baya's quest to convert him. Ah, but this is an intelligent French film. Arthur is a socialist and while not nearly as leftwing as Baya, he proudly states he voted for Lionel Jospin. A warning: if you do not know who Lionel Jospin is, you will miss an amazing and funny scene. The Names of Love takes a sharp turn from where the film was leading the audience. It is not a romantic comedy, well, not all the way. Much screen time is devoted to Baya and Arthur's respective families and to what extent they identify themselves as French citizens.

Baya's father is from Algeria and vividly remembers the French Army shooting many of his relatives in the war. Her mother is a hippie who thinks everything non-French is fascinating which is why she marries a man with the last name Benmahmoud. Arthur's folks at first appear to be the exact opposite of the first couple and are shown boring and set in their specific way of life. However, there is a lingering secret past with Arthur's mother which is not necessarily hidden from view, but takes on more of a role as the film progresses.

The Names of Love starts out at a fast clip with both leading characters taking their turns talking directly into the camera about their youths and where they imagine themselves on the political spectrum. After a half hour or so, this starts to taper off and a more somber and contemplative mood takes over what was almost a comedic farce. Arthur and Baya are shown interacting with each other's unfamiliar cultures and testing their respective boundaries. The script is whip smart and expects a lot from its audience, especially from its non-French audience. I give a high mark to how intelligent and probing this film is, but be wary of the shift from light comedy to more serious introspection.