donwc1996 This is the kind of film that I want to get away from virtually every minute I am watching it but there is so much nudity, frontal, rear, sideways, that I remain glued to my chair anxiously awaiting the next shot of pubic hair. The story, which apparently is based on true events that occurred in France, is an absolute mess. Who can even begin to follow it? There are so many flashbacks, flash forwards and flash everything else that you just sit there enjoying all the nubile flesh in its various contortions which are quite varied and utterly shocking, frankly. I'm such a small town prude. Just can't help it. The lead, a stunning young French girl is never boring to look at but you do want to strangle her she gets on your nerves so much.

samzpan I think is is best to see this movie twice. At least, it was for me. The first time around it was a jumbled mess, but after a second viewing it made some sense. The movie is really about incest. The fact that the brother is killed almost becomes secondary to the sexual action. The sister, played by Lizzie Brochere, spends a lot of her time nude and engaged in simulated sex. She wants to find the killer of her brother. So anybody that had anything to do with that incident, gets to, if not see her naked, a chance to test the tightness of her vagina. Apparently, since they were teenagers, the siblings have been engaged in sex. And not only does she make it with her brother, she makes it with all of his friends. The French are really good at these sort of movies where sex and nudity dominate. An American version would probably resulted in a teen comedy with the males humping Boston cream pies. If naked people and simulated sex do not offend you, check out this movie.

stodruza I shuffled into this film in a sur-le-vif kind of way, on a whim, while running about town. I was twenty minutes late. The young naked bodies thrown everywhere made a good impression. The protagonist girl, with her swarthy yet subtle, austere, French, and you can guess, sexual contradictory nature, energized me to some degree. The voice over, her running around with invective in her blood, trying to find out the murderer, energized me sexually even further, with just a tinge greater intensity than I would have been sensually energized if she had not been running around with such an imperative. The film has a calm energy which is interesting, viewed in this way. The sexuality does not have an energized imperative, as it does, perennially and ubiquitously, in all forms here in the United states.Which is nice. The orgy in which everyone participates is calm, so European, sex as it is perhaps among many sea turtles doing it, simultaneously. The murderers are found, the film finally ends in a French nihilistic sort of way. This is the way to enjoy this film, which is to say it is better to watch it for mood instead of story.

Chris Knipp We've all heard of a "ménage à trois." Pascal Arnold and Jean-Marc Barr's film One to Another/Chacun sa nuit presents a ménage à cinq, an ultra-photogenic one with four boys to one girl, all tanned, pretty, and hot to trot and in the summer in a beautiful southern part of France. At the center of the five is the insecure but magnetic lead singer of the clan's boy band, Pierre (Arthur Dupont) He's the bisexual brother of Lucie (Lizzie Brocheré), with whom he has a relationship just short of out-and-out incest. Nicolas (Guillaume Baché) is also bisexual, so he and Pierre have sex on the sly. Sébastien (Pierre Perrier), the prettiest boy of all, is Lucie's ostensible boyfriend, but she's had sex with the other two. Baptiste (Nicolas Nollet) is boy number four. It's not so good for the story but fine for the vicarious titillation value of the film that the clothes come off right away and there are many bed and swim scenes; and while there isn't much overt sex, there is much casual nude lolling around together among the nearly inseparable five. Pierre also has sex for pay with gay men and orgies with a local politico, and we get glimpses of that, too.In a story based on a real event in provincial France, this inseparable group of young beauties is shattered when Pierre is found dead, riddled with blows. The cops draw a blank and Lucie initiates her own investigation aided by the other boys. When the solution comes, the crime remains incomprehensible, even though who did it had become predictable.Pierre has an intensity you notice, and he sings. Lizzie Brocheré emotes, Guillaume Baché has a way of holding back that's arresting; but despite the film's obsessive concentration on these young people, they seem chosen not for their acting skill but because they're generically perfect looking, with the result that it takes much of the film to gather even a vague sense of what distinguishes one boy from the others.People are understandably enamored of One to Another/Chacun sa nuit for its lovely sensuality. From that point of view, it's a pleasure to look at. But the crime story and the beefcake are at odds with each other, the pretentious philosophizing of the young people is a poor substitute for acting, and the too-randomly inter-cut flashbacks after the death to flesh out the superficial portraits weaken the momentum of the hunt. According the Le Monde's reviewer Jacques Mandelbaum, One to Another "rises to the challenge of achieving a strong confrontation between the filmmakers' hedonistic philosophy and a barbarous act that resists it." Is it our Puritanical Anglo-Saxon culture? Somehow this seems unconvincing. But the images are beautiful. Jean-Marc Barr's second film was called Too Much Flesh. Hmmm…… Opened in Paris September 20, 2006. To be shown at the Rendez-Vous with French Cinema at Lincoln Center March 7 and 10, and at the IFC Center March 8, 2007. US distributor: Netflix/Strand Releasing. Should do well in the DVD sales and rental market.