Nathalie ensina a Sandrine que a transgressão sexual pode causar um prazer violento e proporcionar a quem se serve dela uma poderosa arma para subir na hierarquia social. Decidem arranjar em... Ler tudoNathalie ensina a Sandrine que a transgressão sexual pode causar um prazer violento e proporcionar a quem se serve dela uma poderosa arma para subir na hierarquia social. Decidem arranjar emprego num banco, um local onde vítimas abundam.Nathalie ensina a Sandrine que a transgressão sexual pode causar um prazer violento e proporcionar a quem se serve dela uma poderosa arma para subir na hierarquia social. Decidem arranjar emprego num banco, um local onde vítimas abundam.
- Direção
- Roteirista
- Artistas
- Prêmios
- 2 vitórias no total
- Delacroix
- (as Roger Mirmont)
- Sandrine's Mother
- (as Lisa Hérédia)
Avaliações em destaque
Two French hotties, Sandrine and Nathalie, are booted from the bar where they both work for refusing to have sex with a patron and defending that decision, respectively. Soon, they're moving in together and engaging in an endless series of sexual exploits themselves to prove they aren't like everyone else. If they can screw in public and get away with it, what _don't_ they have the nerve for? Both women are unemployed, and both have healthy sexual appetites. Why not use what they have to get what they want -- in this case, climb the corporate ladder? It's a logical step, I guess. But, then Sandrine seems perfectly competent in her new job without the sex stuff. Sure, all the men want her, and without having to so much as flash a smile their direction, she's on her way to being promoted. So, why the insistence on manipulating men, too? I mean, aside from the bar incident, have they been wronged in some way? What makes these women tick?
The film doesn't quite know, and it _has_ to. Otherwise, it's just sex scenes strung together in no discernible order for no apparent reason other than to be titillating on top of intellectual. Only, it isn't either, really. It's far too talky, for one thing, and it doesn't make a great deal of sense; someone please explain to me why there's a wedding in this film. If not for the occasional display of the female form in all its glory, SECRET THINGS would be unendurable. The overheated episodes between Sandrine and Nathalie (mostly the masturbatory variety) are energetic but redundant, and there's an EYES WIDE SHUT-esque orgy scene that comes out of left field, for no apparent reason other than two minutes have gone by without a sex scene. Then again, this movie hits narrative bankruptcy long before. And the ending, if you can stay awake long enough, is absurd.
SECRET THINGS is not nearly as brazen or interesting or complex as it thinks it is. I don't have the energy to hate it, nor would I waste it if I did. The projector stopped about three times throughout an interminable hour and fifty-minute running time; I wish it had stopped more.
And while narrating might not be the best way to go, developing the story that is, it fulfills its purpose here. The young woman in question and a friend, will have quite a ride, with some nude and sexual scenes along the way. And while the drama is the focus point of it all, it does deal with where women stand in society and how they might be able to improve. Don't expect it to be too philosophical though (I personally would have liked that), but it does have an interesting personal story to tell ... with some extra flavor that it
It's so refreshing to see a truly adult film these days. Not to mention, a film that doesn't just say it is erotic, it goes ahead and proves it. This is not a film for prudes, for those who are easily offended. But for adults who are willing to see some frank discussion about sex and some deliciously devious sexual politics, this film provides wonderful entertainment.
"Choses secrètes" is enormously entertaining with two thoroughly captivating leads. Sabrina Seyvecou, who turns in a spellbinding performance, has a sort of Heather Grahamish innocence and sexiness to her and, along with Coralie Revel, provides some of the most titillating scenes seen in a mainstream movie in many years.
There really aren't any good/wholesome characters in this film. But that's OK. (I suppose Cadene qualifies as a nice chap, but he's a minor character.) Because the cunning of the two women is so absolutely engrossing that you're quickly drawn into their wicked world. Watching them use people for their own ends and not quite knowing who is manipulating whom is one of the many charms of this sensual and exciting film.
The film comes apart toward the end. Unravels a bit, especially when writer/director Jean-Claude Brisseau resorts to awfully heavy-handed (and needless) symbolism. There's also a superfluous orgy scene that comes out of nowhere. I wish Brisseau would have come up with an original, atypical, less conventional denouement for his story.
If you like the works of Neil LaBute - "The Shape of Things," "Your Friends and Neighbors" and "In the Company of Men" - you should appreciate and enjoy "Choses secrètes."
Now, had this been tongue in cheek - and I'm not saying whose tongue, in whose cheek - had M Jean-Claude Brisseau, the director, used a lighter or defter touch, the sensual side would have melted our Haagen-Dazs and there could still have been a thought-provoking moral aspect, reflecting the power of, well, the femme fatale.
As it is, the film gets lost towards the end, implying that the playboy office boss is the real manipulator and the girls are mere pawns. The joyous, impish scenes when the two women dare one another to surreptitiously remove their underwear whilst seated in the subway, are long forgotten. Thankfully, Sabrina Seyvecou's natural charms are sufficient to blot out any significant disappointment. She could conquer my office any time.
I think the Haagen-Dazs has left a stain. At least, I think it's the Haagen-Dazs...
Você sabia?
- CuriosidadesIn 2005, Jean-Claude Brisseau was sentenced to a one-year suspended prison sentence and a EUR 15,000 fine for sexual harassment on two actresses (Noémie Kocher and Veronique Hirat) between 1999 and 2001 during auditions for the film. A year later, the director was again sentenced after the declaration of a third victim (Julie Quéré). The auditions called for the young women to masturbate themselves or one another in hotel rooms or in public places. Brisseau sometimes filmed the sessions, but not always. According to the actresses, the director sometimes masturbated himself - a claim he recognized during the investigation but denied during the trial. The auditions were repeated over several years before the director dropped the actresses claiming that they did not fit the part. Brisseau always said the auditions were conducted solely for artistic reasons.
- Erros de gravaçãoThe level of champagne in Sandrine's glass varies from shot to shot on the first night in Nathalie's apartment.
- Citações
Nathalie: Next chapter: Men, a user's manual. First pick a good one. But don't fall all over him. Play the good, innocent little girl. Let him play protector.
Sandrine: We can all do that. Guys just want to get laid and move on.
Nathalie: That's why you don't fuck 'em. At least not just like that. Without letting on, study them, get them talking. Discover their weak spots and passions: money, cars, I dunno... success, work. When you find out, you flatter them. Then, once you've chosen your man, you yield to him. Never on the first date. He'll think you're easy. Don't wait too long, either. After 3 or 4 dinners, then give him the works. Give him pleasure, make him think only he can make you climax, play the happy, docile woman, but not for too long. Soon in bed, you stop faking. Not seeing you climax will get him all worked up. Then without warning, drop him and start fooling around. Overtly. One night stands. If possible, with another woman. It'll humiliate him, drive him nuts. He'll come crawling back.
Sandrine: It works every time?
Nathalie: Just about. That's the mystery of human nature... we want what resists or escapes us.
Sandrine: Who taught you that?
Nathalie: Life. My mother. But she and I were poor. I also read a lot. I had schooling like you. It didn't keep us from enduing in the same strip club. We women lack confidence and daring. Someone always has to be behind us, egging us on. We're a bit like the working class. My mother said they'd stay that way for one reason: they didn't dare move up. "Dare!" That's what she'd always say. She knew about human nature.
Sandrine: Meanwhile, no guy ever made me come.
Nathalie: I know. And that's just fine!
Sandrine: If you say so.
Nathalie: You'll soon understand. What'd you do with your guy?
Sandrine: I faked it.
Nathalie: Why?
Sandrine: I wanted to make him happy.
Nathalie: No, you felt guilty, thinking it was your fault. You were wrong. Lesson 3: femmes fatales are usually narcissists or lesbians. They're frigid with men. They come when they want to, which isn't often. It's their strength. With famous courtesans...
Sandrine: Want to make me a call girl?
Nathalie: No, I'm teaching you about life. Now, with famous courtesans each guy wanted to succeed where others had failed. Pride will make a man spend a fortune to be seen with them. Frigidity helps with men. Sex enslaves you. The slave must be the other. Now you can come on your own, you're free. Get it?
Sandrine: What about love?
Nathalie: Our Enemy Number One. The real risk. In war, if you stop to think, you die. If we fall in love, we're done for. Has your life been such a thrill until now? Be realistic: no one'll help you change your life. True love can wait. Now show me how you fake it.
- ConexõesReferenced in Le cinéma selon Brisseau (2007)
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Bilheteria
- Faturamento bruto nos EUA e Canadá
- US$ 105.090
- Fim de semana de estreia nos EUA e Canadá
- US$ 9.421
- 4 de jan. de 2004
- Faturamento bruto mundial
- US$ 234.255
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