Uma Relação Pornográfica

An unnamed man and woman find each other through the personal ads of a sex magazine, to engage in a pornographic act that forms their mutual fantasy (the camera, old-Hollywood style, lingers in the hotel corridor during the act itself). They meet again; and again. They start to get to know and like each other. They make normal love. Maybe they'll have a normal relationship. But the film continually reminds us of the proximity of the crowd, within which they might blur back into being strangers; of the beguilingly complex topography of relationships (you feel the emotional landscape as electrically as you feel her finger trace the contours of his face and back in one scene); of the possibility for devastatingly wrong moves even amid the most enveloping intimacy; of the inevitability that even our profoundest memories will erode; of the relationship between the experience and the interpretation of an event. This is the epitome of a concise, elegant, sensitively written and acted European film; not designed to move an artistic mountain, but a certain crowd-pleaser.

This little movie is simply sublime. I ran across it again when searching for more Sergi Lopez films. His range is simply amazing, from sensitive fantasy lover (as in this film) to the most dastardly twisted villain. I would be hard-pressed to think of any more talented male actor in European film today. I particularly liked him in "Dirty Pretty Things", due to its serious, thoughtful treatment of the pressures on immigrants. "A Friend Like Harry" was just great entertainment, humor of the darkest sort.

"Une Liason Pornografique" is still another type of film altogether. The French produce many interesting films on sex, some successful, some less so. This is of the best I can recall from my own 20-year love affair with European art films. Another recent French film that I can whole-heartedly recommend is Coline Serreau's Chaos, which took several years to cross the ocean to the U.S., but was originally released in 2001. Also Chocolat by Claire Denys, another quiet but piercingly accurate character study.

An ad in the paper with a specific sexual fantasy asked for. A meeting of 2 strangers, who remain so both to us and to each other. A subtle deepening of feelings for each other...this movie is so delicate it is like gossamer. Nuances of looks, smiles, movement. "Elle" winds up a little harder, "lui" a little softer. I was spellbound by it. Recommend it to those who like their movies to stay with them for a while. Great acting and direction.

In the search for intimacy and meaning in the dehumanizing urban environment, quite personable, intelligent and attractive people have to resort to newspaper or online ads to meet someone for romance or just companionship. In this film, however, a man and woman, both attractive and personable, seek depersonalised sex, not involvement. Or so they thought. Of course they become emotionally involved, and then the question becomes: will they continue?

This is a very nicely judged piece using a combination of interview sequences intercut with flashbacks. There are no distractions: we focus almost entirely on Nathalie and Sergi as they are interviewed separately about their affair. Their versions are not identical but there is only one flashback version of each encounter so there is not a lot of confusion. The curious thing is that although intimacy develops it follows the rules of the original impersonal pornographic encounter – no names, no talk about jobs and families and friends, no swapping of personal detail. They meet once or twice a week in the same coffee bar and hotel room for six months or more, yet still know virtually nothing about each other (apart from their sexual fantasies). Why this holding back? Neither is currently attached to anyone else. The only explanation is that they really didn't want to get involved, or don't want to take the risk. Burned before? Who knows?

Nathalie Baye as the (slightly older) woman is poised, charming and not obviously hung up about sex. She seeks the zipless f*** of feminist legend. She does have trouble expressing her feelings – for her `I love you' are the hardest words in the language (all right, `Je t'aime'). Sergi Lopez as her homme de jour is a bit more emotionally expressive but still holds himself back.

I suppose one could see the film as suggesting that the alienation of modern life can be traced to an unwillingness to become emotionally attached, that life is faster and cleaner if relationships are disposable without much pain. These two want intimacy, but they don't want to pay for it.

It's a well-made movie with plenty of Parisian bustle and lots of nice close-ups. It's all a bit sad, though. Have we been reduced to being consumers of personal relationships as well as sex?

It is not a perfect film, it has flaws, the most obvious being the pseudo psycho babble that could have been achieved with greater effect by having said less, but having said it better. It is a romance, it is romantic, it is sexy, and it is a slice of life, their lives, a small part that keeps the rest of their lives from being without charm. There is no need to contemplate the past or their futures but the moments that make the present happiness complete. The film proves that sex between mature adults can be beautiful, and not bound by the petty mores of witless societies that demand sex take place between pnuematically enhanced teenagers and souless males who would not understand the rhythms of sex without a street directory. Nathalie Baye was 51 when she made this film and has an attractive body, but she has a great way of making herself erotically desirable. Any person that has never laughed, joked or cried during sex has not had much good sex. It is the casual and caring ease between the leads that demonstrates how sex can be imtimate and romantic and caring. The people who call this movie cold have looked at it from the director's eyes and have failed to capture the warmth of the two leads. The title, I think is in the French style of ironic (a word missing from the American dictionary) rather than the British sense of the word. While the British treat irony like a Shakespearean tragedy the French equate it more with the "little death" and regard it more as humour tainted with pathos. The French idea of tragedy is to leave the ending out of movies, but perhaps I am over using irony here. If you have 80 minutes to spare to think about the relationships in your own life, then this little movie just might help you explore your own heart a little more. And remember a movie without flaws is called, "Looney Tunes."