Grande École - Pós-Graduação Em Amor e Sexo

Credit the director with getting a cast of unknowns to give very credible performances--an ensemble of attractive young people who have certainly put themselves into these roles. The relationships seem real and all of the main actors acquit themselves well. The story basically follows the lives of five students and a construction worker as they explore truths about each other in a situation ruled by a strong-willed girl who decides to play a game of entrapment when she suspects her boyfriend is sexually interested in his roommate.

But the script is a talky one and goes in all directions trying to steer us into thinking homosexuality is clearly a question of choice or that a simple homoerotic experience for a man can change his whole perspective on life. It's a muddy theory that the author/director are striving to execute on film, but they end up with a story of unrequited passions that goes nowhere in the end.

A scene of sexual fulfillment between two men is artfully presented and tastefully photographed. But there is an artificial air whenever the sexual themes are being explored. The only exception is the shower room scene where the hero tries to hide his interest in the showering athletes.

The picture is actually one long-winded mind game that it plays upon the protagonist (and the audience) and nothing memorable or strong enough happens to give it a high recommendation.

You have to wonder who the target audience is for a film of this type which seems to be sending mixed messages.

"Grand ecole" aspires to be the sort of existential drama that the French New Wave directors produced in the 1950s and 1960. It pours race, class, economic status, history and sexuality into a big martini shaker and pours out a heady concoction.

But just what the film is, in the end, is not clear at all.

Paul is the hunky son of a Marseilles contractor. Raised to be brilliant but also racist (snubbing Arabs) and classist (snubbing blue-collar workers and the poor), Paul is sent to an elite Parisian economics college where he is supposed to learn about management and marketing. But Paul isn't his father's son. He's artistically-minded (which should be your first clue about his inner life) and rejects his father's biases. Soon, Paul has taken up with Agnes, a young woman who is attending the liberal-arts university next door and who is an avid supporter of human rights.

One of Paul's roommates is Louis-Arnault, a hunky business major with a penchant for water polo (he comes from a legendarily wealthy background) and girls. The other is the materialistic, shallow, rich boy, Chouquet.

Paul has a stunning girlfriend, the beautiful Emeline, who also attends the school of economics. While Louis-Arnault's and Emeline's relationship seems stable and loving, Paul's relationship with Agnes seems a bit rockier. Paul loves Agnes, but is a little emotionally and physically withdrawn from her.

It's not long before Paul develops an intense homosexual crush on the handsome, athletic Louis-Arnault -- even going so far as to steal his boxers! Then the handsome Arabian blue-collar worker, Mecir, arrives on campus as part of the construction crew renovating buildings on the school grounds. Paul is equally attracted to Mecir.

Agnes is no dummy: She senses Paul's ambivalence and proposes a test. If Paul seduces Louis-Arnault first, Agnes will leave and never say a word. If Agnes seduces Louis-Arnault first, then Paul must give up his homosexual longings and be exclusively heterosexual and monogamous with her.

The great problem with the film is that it is not entirely clear why Agnes would suggest such a thing. For his part, Paul never agrees to Agnes' plan -- so just what does Agnes think she is doing?

After the first hour, Chouquet drops completely out of the picture -- which is frustrating. Mecir figures more and more prominently in Paul's sex life and emotions. But just as the viewer expects religion to become an issue (Mecir is clearly a practicing Muslim), it doesn't.

Much more satisfying is the film's extensive commentary on the emotional desert that is capitalism, greed and materialism. There is a tremendously important and well-written discussion during the film's climax that is a real wonder. The grand ideas fly fast and furious, and the writing and acting is pure gold there.

For the most part, however, the film's sexual themes -- which are ostensibly it's raison d'etre -- are muddy. The film's commentaries on race, class, materialism and the burden of history are much clearer and more satisfying.

Overall, the quality of the acting is rather good. Salim Kechiouche is superb, and Gregori Baquet has his moments. Also rising above the fray is Alice Taglioni, who is subtle and powerful as the put-upon Agnes.

The direction, cinematography and editing are nothing to write home about.

But "Grand ecole" is worth the effort, even if it is ultimately an exercise in frustration.

Paul (Gregori Baquet) is attending a prestigious university in France. He has a girlfriend named Agnes (Alice Taglioni) who is puzzled why he won't live with her. Paul becomes sexually attracted to handsome roommate Louis-Arnault (Jocelyn Quivrin) but won't admit it, while handsome Arab Mecir (Salim Kerchrouche) makes it clear that he loves Paul. What is Paul to do?

Has its moments. When it sticks to Paul, Mecir and Louis-Arnault and the sexual aspect it's absolutely fascinating. But they continuously keep throwing in long boring speeches about business and politics that bring things to a screeching halt. Also (with the sole exception of Mecir) most of the characters are very unlikable and cruel. Paul's girlfriend especially comes across badly and Paul himself is whiny. It ends in a very muddled way with an unsatisfying ending.

The acting is all pretty good. Baquet is a bit too whiny but Quivrin and especially Kerchrouch are very good. The one sex scene is done very tastefully and there is quite a bit of casual female and male nudity (this would get an NC-17 if it had been rated). All in all not too good but some bright moments and acting make it worth a look. I give it a 7.

From reading other reviews this may be one of those movies that seems to be about whatever is most important to the viewer. To some it is mostly about capitalism and class / social castes. To others it is more a love story. To me the love story seemed central, with it feeling like a movie by gay men for gay men. We start with two decent looking guy roommates, one of which clearly is into the other, who seems to return friendship only. Both men are dating women. A working class love interest Mécir, played by Salim Kechiouche, comes into the life of the obviously conflicted gay lead, Paul. Paul is torn between apparently unreturned love for his male roommate, his sociality acceptable relationship with a woman, and an openly gay lover who doesn't easily fit into the life he feels expected to lead.

Being a French movie, English speakers must be prepared for subtitles. There is a fair amount of frontal male nudity in the film, and being a French film, yes the men are naturally uncircumcised. The nudity is always incidental and mostly in a single locker room scene, a scene which perfectly captured the discomfort I felt in gym class myself as a gay teen. The fear of being caught looking at the other guys contrasted against the potential delight of being surrounded by dozens of fit nude peers. It is tough to understand people being uncomfortable with the frontal nudity when it isn't used in a sexual way. Still, if frontal male nudity bothers you, perhaps you shouldn't watch. There is minimal female nudity. Since questions are raised about what is the perversion, homosexuality, or the insistence on fitting into societal norms despite one's feelings, it seems strange to find reviewers debating something as basic as casual nudity.

Stories of unrequited love and love triangles have been told many times before, and probably told better. But as a gay man, the conflicts Paul felt were very familiar and real to me, and the story took me back to an early time in my life. I could certainly sympathize with his situation. It was easy to be drawn to the character of Mécir. Not only is he a feast for the eyes, I also found myself trying to will Paul to wake up and realize that Mécir was the only choice of the three with a likelihood for long-term happiness. As in life though, nothing is quite so simple. If you want to know more, you might well enjoy the movie. Feedback on this review is welcome.

There's a touch of Rohmer in "Grande Ecole". Characters, set in unglamorous, surburban spaces, are just a little too intent and penetrating to be real. Their emotions are simple, yet surprisingly delicate. They experience no jealousy or revenge, but desire, self-doubt and tenderness. Like Rohmer's, Salis' movies feel too nostalgic and sweet to be topical, and that aestheticism is put to the use of tolerance and humanism. Sex scenes for example are remarkable. Homo- and heterosexual love become comparable because Salis makes caressing and enticing the cornerstone of every sexual encounter. The movie however becomes overtly theatrical towards the end, and does not tune in with the closure that Rohmer would have gone for. Salis resolves conflicts, by now difficult to disentangle, only by confusing the viewer to a point of no return and settling for the beauty of seeing all characters reunited finally, if not in the movie, at least on the screen: him and her, and him and her, and him.