Um Para o Outro

This film is worthwhile for the soundtrack alone. And just as worthwhile in every other way.

Lots of tasteful nudity and sex between uninhibited young friends. Very enjoyable for both young and old to watch. The whole cast is beautiful, like they were born not to wear clothes. Someone complained after the screening that they were too beautiful. I didn't see that as a problem.

The criminal mystery and story background is revealed piece by piece out of chronological order in a series of flashbacks. That is difficult to do well, but here it's done skillfully and adds to the story rather than making it difficult to understand.

At the premiere at the Toronto Film Festival many people walked out of the screening. That surprised me. Sure there's a lot of nudity, but the film festival audience usually expects that and takes it in stride. The film is very French, and perhaps that could alienate Americans used to seeing only Hollywood films. The people who walked out of the film were mostly men. That surprised me too. Perhaps they were offended by the bisexual elements of the film? For anyone who likes film, especially anyone who likes French cinema, this is a must see.

Based upon actual events, this film is certainly not for everyone's tastes, but it is an intriguing, erotic, and fascinating watch. I'm not sure a film such as this could be made in the United States because of the nudity and overt sex that takes place amongst the young actors. It appears that here in the good old U.S.A., we know such things take place, but we don't seem to be able to admit it. Oh, it's fine to show teenagers killing each other, but heaven forbid that they take off their clothes and have so good, old steamy sex. Hopefully, these statements have sufficiently warned you that - if you view this film - you're going to see people under the legal age nude and engaging in sensuous acts. As one reviewer on this site put it, "The whole cast is beautiful, like they were born not to wear clothes." The story is of five, young friends - one girl and four boys - who enjoy life. Their relationship is symbiotic and sexual in various ways. One of the boys is the girl's brother and the alpha male of the group. He is handsome, sensual, and especially engaging - a master of social and sexual relationships. In addition to being the leader of the group's successful band, he is a high-class hustler engaging in both heterosexual and homosexual relationships. He is murdered - savagely beaten to death.

Is the relationship between the girl and her brother incestuous? It is left for the viewer to determine if they ever had intercourse, but it is made clear in the film that they fully explore each other's bodies and sensual psyches. Both the girl and her brother do engage in sex with one or more of the other boys. - all of this in a very open fashion.

The action in the film is not linear which presents somewhat of a job for the viewer to piece together all of the various events and relationships in the film. Most of the film is from the girl's viewpoint as her mind jumps here and there remembering events before and after her brother's death. She is so devastated by the death that she has had a breakdown. Her mental anguish is made worse by the fact that the murderer of her brother is unknown, and that the police have exhausted most of their leads. She is obsessed with the thought of finding her brother's killer.

Unlike many French films, all is revealed in the end, and the viewer is left to consider a mesmerizing work of cinematic art highlighting excellent acting and bold depictions of the sexual lives of five young people.

Pierre and Lucie, brother and sister, are in a full sexual development swing with their friends, until one day, Pierre does not come home. The question of the movie is what happened to him. The curiosity of the movie, is how Lucie goes about finding out. We follow her as she uses the only power she has discovered, her body, to try to obtain answers in a micro- cosmos of perversity and sexual adolescent indulgence.

It is unfortunate that the movie suffers from a confusion from start to finish, due partly to the resemblance of the characters, partly to the bizarre nature of the script and partly to the (time-frame) editing. Consequently, the audience loses interest in what could have been an original youthful tale. Lucie's manipulation of others through their desire for her body is taken as her strength, which, even if taken as unfortunate, does not evolve into a more mature version. Character development is perhaps a lot asked for a group of youngsters, but a little more character would have helped. If you venture into the dark hall for this one, make sure its late and you are tired. You will leave with the inspirational originality of the sexual/ amorous melange without being too affected by the overall work. But beware of just being lulled into the realms of your own faraway dreamworld.

A very french film. It stars a bunch of teenagers in some provincial town in France, living their lives and loving each other – both mentally and physically. A murderous event interrupts the lives of five very close people. Nudity and sexuality are present throughout, but they are not exploited, they rather serve as essential elements of the story that unfolds. And in a way – this probably is the most "french" element –, they are both graphic and tasteful at the same time. The physical attractions cannot be excluded from the characters' thoughts and deeds and developments, yet it is exactly the difference and/or connection between mind and body that marks a central element. Scenes jump from one point of the time line to another, yet the overall narration and presentation is quite realistic (after all, the film is based on a true story). Luckily, this is neither a moral tale nor an "investigating" look at the nightlife of the hedonistic youth of our time; it is a very "talky" movie which some inevitably will find boring while others will be mesmerized. Given it will not be shown often (which looks as if), "Chacun sa Nuit" is very likely to receive a sort of cult potential in the coming years.

Like so many screenwrites that minimize a functional plot and are based on jarring juxtapositions of elements truly extraneous to the story, (if you can find one in this film), one is left bored but befuddled. Quite a feat of genius--and then, let's throw in a kitchen sink (or two) and melodramatize the melodrama a bit further with all the kitchen sinks having sexual problems. And, as though any elegance might be wasted on the philistine masses anticipated to watch this thing, let's give the characters a good dowsing with Eau de Banal: let's say they are all in a band, and make them act so miraculously casual when confronted by each other's conceits that it seems the writer was trying hard to force accessible in ludicrous loads down watchers' throats. Doltish performances, mishandled script dynamics, and the shaky pursuit of post-modernist neo-realism all packs up together and forms a very cheesy fromage that no normal person could possibly suspend disbelief for in order to receive and swallow, and swallow, and swallow.