Stevecorp Don't listen to the negative reviews

Ceticultsot Beautiful, moving film.

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Arianna Moses Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Yusuf February The film "He loves me, she loves not…" is a paradox and it has two perspectives. The film was directed by Laetitia Colombani. There are two keys actors in the movie, which is Angelique (a fine Arts student), and Loïc (a male-married cardiologist). Angelique is an obsessive, psychotic, deluded, and paranoid female but she is in the low class. Loïc is an honest, loyal, confrontational, and confusing male but falls in the high class. There are two scenes which center deeply on the subjective nature of truth. The first scene is where Loïc listens to the voice messages. In this scene there were medium shots. The editing's were jump cuts. There weren't any camera movements. The camera angle was a low angle camera. The sound was a score and soundtrack but it felt truthful, deplorable, and sad. The second scene is where Angelique is visiting Loïc. In this scene there were close- up shots. The editing's were jump cuts. The camera movement was tilting. The camera angle was a high angle camera and low angle camera. The sounds were a score and sound effects but it felt deep, honest, shocking, and rejective. The first scene is where Loïc attends to the voice messages. Firstly, there is a gray color, which means practical. Secondly, there is a yellow color, which means dishonesty, deceit, or cowardice. Besides, there are purple and black colors, which mean transformation yet unhappiness. The second scene is where Angelique is seeing Loïc. Firstly, there is a blue color, which means confidence and truth. Secondly, there is a white color, which means simplicity, precision, or innocence. Moreover, there is a black color, which means power, mystery, and evil. If you really like love affairs, I will recommend this film to you because it's a fast pace film but it deals with misconceptions, miscommunication, De Clérambault's syndrome, and hyper-sexuality.

Syl Audrey Tatou is a wonderful French actress. In this film, she plays Angelique, a talented art student in love with a married doctor. She keeps claiming that he will leave his pregnant wife for her. As we learn in this film, Angelique has some serious problems with reality. Audrey Tatou does a splendid job with the role. The supporting cast is also stellar. As for a French romantic comedy, it becomes serious midway in the film. There we learn the truth about our film's heroine. We still feel for her anyway. The audience can relate to unrequited love. It is hard to imagine that Angelique wouldn't have men falling for her. She is charming, talented, and intelligent. The film has its moments but its more about mental illness. Still Tatou is remarkable in the role. I love that they filmed it in Bordeaux, France. I love seeing other parts of France besides Paris which I love too!

Graham Greene He Loves Me, He Loves Me Not (2002) - which is a not entirely accurate interpretation of the original French title "À la folie... pas du tout", but regardless, is one that does an adequate job of developing the film's narrative preoccupations and central game within the structure - is an enjoyable film that works, despite the limitations of its obvious gimmick. Clearly, this isn't the first time that a filmmaker has played with the idea of a shifting narrative perspective - with one of the earliest examples being Akira Kurosawa's historical masterpiece Rashomon (1950) - but regardless of a sense of "been there, done that", the film remains fresh enough to succeed and reward the audience, even with the benefit of repeated viewings. Much of the success of the film is down to the mood that is established in the first half of the film, the subtlety of the performances and the ironic appearance of Audrey Tautou, then fresh from the success of Jean-Pierre Jeunet's frothy modern-day fantasy Amélie (2001).Unsurprisingly, director Laetitia Colombani seems desperate to tap into the style and iconography of Jeunet's film, with the full-colour wonder of Bordeaux seeming like a candy-striped fantasia here; with the lush pastels, giddy camera movements and a larger than life approach to the character and the psychological world that they seemingly inhabit. This is directing at its absolute richest, with the lack of any kind of obvious delicacy and the particular use of design and mise-en-scene creating just the right mood of fantastical abstraction for the eventual shift in tone to take effect.Tautou's performance as the seemingly bright and breezy Angélique - her name, yet another delicious pun on her very angle-like appearance in the context of Amélie - is much more intelligent and demanding than the earlier scenes of the film might suggest; with Tautou having to walk a delicate line between beguiling innocence and adorable charm, with the much more dangerous and obsessive qualities that ultimately make her character detestable and entirely unsympathetic. The switch in tone is seen inverted somewhat by the performance of Samuel Le Bihan as the object of her affections; beginning the film as a cold and immediately dislikeable character and ending it as a sympathetic hero. His performance is perhaps even more subtle than Tautou's, with the success of the film relying heavily on his ability to occupy two completely different stands of narrative simultaneously, while at the same time, still leaving us guessing as to the intentions of his character.As a result, the film manages to succeed on a number of levels; as a light-hearted rom-com, a dark psychological study, and a twisted thriller all jostling for our attention simultaneously. As the perspective switches back and forth the real games within the narrative become clear and the allusions to the title begin to make sense. I wouldn't go so far as to call it a masterpiece, as there are some obvious minor flaws... chiefly, the later portrayal of Angélique as she eventually becomes the most hateful of characters. The final scene also leaves something of a bitter aftertaste, though it is clever and definitely works within the context of the rest of the film's dark, ironic humour.Regardless of these slight issues, He Loves Me, He Loves Me Not is a rich and imaginative film that presents a story that could have quite easily become a hopeless cliché as something that is instead much more fun and delightfully eccentric. The central performances from Tautou and Le Bihan anchor both sides of the story, while there is fine support from Isabelle Carré, Clément Sibony and Sophie Guillemin, who each have to act and react in different ways to the ever shifting narrative. You can see it as a novelty if you like. Certainly, as I stated above, the central experiment with the narrative is something of a gimmick, but I feel that the film as a complete piece of work more than overcomes any such minor shortcomings. Take it for what it is and the film will reward... i.e. an enjoyable and sometimes shocking work, designed to entertain and engage on some vaguely thought-provoking level.

Galina À la folie... pas du tout (2002) aka He Loves Me... He Loves Me Not was written/ directed by Laetitia Colombani and starred Audrey Tautou. It was made right after 'Amelie' and it looks like 'Amelie', especially in the opening scenes on the beautiful and colorful streets of Bordeaux that prepare a viewer for the light romantic story. Young and pretty Art student Angelique (Audrey Tautou) seems to have found her fabulous destiny and the love of her life in Laic, a cardiologist (Samuel Le Bihan) who seems to be as much in love with her as she is with him. But is he? And what about his wife who is pregnant with their first child? Step by step, the film takes an interesting turn and becomes a story rather dark and disturbing, told from different perspectives, Rashomon - style. What started as a light and sweet romantic comedy, very successfully turned into a well made thriller. The way the young writer/director presented and contrasted two points of view at the same events, is remarkable. We all know from Geometry classes that parallel lines never cross, at least in Euclid's Geometry they don't but sometimes when you look at the lines in space from certain POV, it looks like they cross – I kept thinking about it while watching He Loves Me... He Loves Me Not which I highly recommend. Audrey Tautou was wonderful – without giving too much out, I just say that she played a character that I found deeper, darker, and more interesting than Amelie, the dark side of Amelie.