Lee Stote This is just one of the most irritatingly pretentious movies I've ever seen. If you're an upper-class white person with no real problems and you can only relate to human sexuality, though, maybe this movie will appeal to you.Barbara Niven plays a rich white woman who is sexually repressed and stuck in an unhappy second marriage with a cartoonishly evil business owner. Her one trait is that she's uptight and her husband's one trait is that he's evil. No one in this movie gets to have more than one trait.She confesses to her friends - two happily-married women - that she's never had an orgasm. They recommend an all- female brothel for her to contact so that she can finally know what it means to enjoy herself in bed. She ends up with Paris, played by Jessica Park, who is admittedly gorgeous but is once again limited to one trait - in this case, being sexy. For the entirety of the film she speaks slowly and in a low whisper.Her character is key to some of the film's most desperate attempts to be artsy. We get shots of her in a fetal position on a white void because the movie wants to show that she's damaged and has personal trauma. Rather than letting this come out through Clark's performance it's shoved down the audience's throat with this obnoxious imagery repeatedly, with different degrees of blatant symbolism each time. We also get embarrassing soap opera-like flashbacks to Paris' memories of her old lover, done with soft-focused and slowed footage to make them extra-hard to watch. We don't get a sense of their relationship, really; we're just being told that it was good because look, they're smiling! They're laughing! Everything's fuzzy and slow-motion so it's gotta be nice, right?The embarrassing film school stuff is just par for the course in this movie, though. There's jump cuts all throughout the movie and they feel almost random. It's like the director saw one of Jean-Luc Goddard's movies and figured that good, artsy movies MUST have jump cuts because his films had them. They really make parts of this movie hard to watch because it just feels like the editing's a mess.And of course there's all of the melodrama. Everything important in this movie is underscored with horrible, generic piano and string synths telling you what you're supposed to be feeling. It gets really silly when one character orgasms and there's synth flutes and choir voices hitting high notes to hammer the point home. It's just another part of the movie that feels really forced and cartoonish. It makes the sex scenes embarrassing to watch.The romantic chemistry between Niven and Clark is non-existent but we're told at one point that they might be falling in love. 90% of their on-screen interactions are purely sexual and yet with nearly zero character development we're supposed to find their relationship meaningful. We don't really get the chance to see these two characters outside of the bedroom and when they talk, it's just endless streams of clichés about how much they enjoy each other. It feels painfully shallow. Clark's character is sexy and she's shown to have artistic talent throughout the film but she doesn't get to have a personality outside of her sexuality. We don't get a sense of what her art means to her - it's just there to make her a more attractive character. Of course, though, the film sees Niven's life changed by her relationship with Clark.The "manic pixie dream girl" is a trope in films where one bubbly, exciting girl enters a protagonist's life and solves the protagonist's problems by being such a likable, attractive person. "A Perfect Ending" merely takes that cliché and applies it to the life of a rich white woman rather than a man. It says that everything wrong with your life can be solved by a hot, sexually-available woman. But the worst thing about it is that it has the audacity to pretend that it's something more, with all of its terrible film student editing and pretentious imagery.There's much better films out there about bisexual and lesbian relationships. Blue Is The Warmest Color is a much better portrayal of a woman's sexual awakening with another woman and it's made by someone with a far superior grasp of film making. Watch that instead of this trite soap opera.

Sharlie Mello I love movies with great chemistry between excellent actors, excellent writing and directing with music that enhances the movie and its moods. A few of my favorites are Out of Africa, Prince of Tides and Somewhere in Time. Now I can add A Perfect Ending to my list. Nicole Conn and her team bring it all together in this amazing movie. I just watched A Perfect Ending for the third time in about as many weeks and I was just like.... Wow! I cannot believe the exquisite body of work that Barbara Niven put together in that wonderful movie. From start to finish it was just total quality. Barbara aced the part of Rebecca and she was truly meant for that part. It rather seemed as though it was written for her. The vulnerability she portrayed was so real and believable. Barbara is a talented and beautiful lady. As a relative newcomer, Jessica Clark was exquisite and mysterious and yet their characters blended well and had great and unusual chemistry. A Perfect Ending was multi-layered and intriguing and I will likely watch it many times in the future.

Ana Paula Brás Nicole Conn gave us again a masterpiece!!! It's a movie which addresses many facets such as: the prejudice, love between women, the male abuse in marriage, children's distinction between boy and girl, the age differences and sex work. "A Perfect Ending" is above all, a hymn to Love and Nicole found the perfect actresses for the main roles. The chemistry between Barbara Niven and Jessica Clark is outstanding! Rebecca is Barbara's role lifetime, with an absolutely amazing courage! Jessica surprised everyone in her first feature film, really talented actress! The soundtrack, especially the music The Perfect Pavane by Kathy Fowler, is superb! Thank you Nicole for this gift to the world! We are looking forward for your next creations!

suite92 Rebecca is in a marriage where she has never had a climax, and she and her husband Mason have sex twice a year, whether they want to or not. Mason is a bit of a shifty dealer, and he signs over certain company segments to Rebecca to avoid litigation and perhaps criminal charges. He's very controlling with her and keeps her in the dark as much as possible.Theme 1: Rebecca's lesbian friends try to get her to enjoy herself more with another woman, perhaps through Valentina, who runs a service for that. This starts slowly with Paris, since Rebecca is skittish about it, but picks up speed later.Theme 2: Rebecca decides to use Mason's overconfidence to take control of most of his companies. The documents he urged her to sign earlier are a great help in this. Further into the film, we find out that Rebecca has terminal cancer. She will have a lot of decisions to make.Theme 3.: Rebecca's first lesbian lover, Paris, is going through emotional turmoil herself over the loss of a loved one. Some time ago, she had a minor laughing spat with her husband. She playfully pushed him away, into the path of a car that killed him.Theme 4: Rebecca's daughter from a first marriage feels left out, plus Mason abused her sexually a few years back. One Mason and Rebecca's two sons is to be married into even more money, but his prospective wife is a bit of an odd duck.Will Rebecca and Mason handle the full transfer of power before she is gone? Will Rebecca figure out her sexual identity? Will Paris get over the exact way that her husband died? Will the next generation get their acts together? -------Scores--------Cinematography: 7/10 There were too many closeups of mundane objects coupled with rack focus. The shots of Paris emoting were atmospheric, but more often boring than not. The regular footage was very well done.Sound: 8/10 Mostly OK, but dips too low sometimes.Acting: 5/10 Lots of variation: John Heard was quite convincing; Barbara Niven almost convincing; the actors who play the grown up children were rather bad, as were the actors who played the lesbian friends.Screenplay: 5/10 The story lines made sense eventually, but the whole thing was rather ponderous. Oh, well, soap opera traditions.