Based on a true story, the provocative and haunting French drama, "One to Another," is a lyrical, erotically-charged tale of forbidden love set within the context of a murder mystery. The story focuses on Lucie, a beautiful young woman in her early 20s, and her highly unorthodox relationship with four men who have been her inseparable "pals" since childhood. One of those men is her own bisexual brother, Pierre, whose death under mysterious circumstances serves as the catalyst for the movie's plot. In true Gallic fashion, "One to Another" seems somehow less concerned with the killing than with the way sex defines the lives of these characters, yet when the solution to the mystery finally comes, it is both shocking and profoundly disturbing in the truths it reveals about human nature.
Probably only the French could get away with exploring sexuality from so many different angles in a single movie, and, true to form, "One to Another" plunges unflinchingly into topics that would normally never be broached in polite society. Lucie's quasi-incestuous relationship with Pierre, in particular, comes about as close to pushing the envelope as anything one is ever likely to find on screen (though Bertolucci's "The Dreamers," another popular French film from a few years back, dealt with a similar situation). And while the movie doesn't come right out and condemn the characters for their free-floating sexuality, it seems to imply that, without a clear moral compass to guide a person through life, even the most heinous of acts will finally be deemed acceptable.
One problem with the movie is that, while Lucie is a beautifully realized and compelling character (brought to exquisite life by Lizzie Brochere), the same cannot be said for the boys in the story, who look, dress and act so much alike that it often becomes hard to differentiate them one from another (though, I hasten to add that the actors are all very good in their roles). This not only leads to confusion on the part of the viewer but to an imbalance in the chemistry of the story, since Lucie is so much more intriguing than the men with whom she's having all these relationships. That sense of disorientation is further compounded in the early stages of the movie by the fact that it takes awhile for us to realize that many of the scenes we are watching are actually flashbacks to earlier events. Once we are able to get our temporal bearings, however, this ceases to be a problem and the structure actually enhances the insightfulness of the film.
"One to Another" is definitely worth checking out, provided one is not easily offended by nudity, simulated sex scenes, or the exploration of troubling themes. Moreover, because the movie is blessed with artful direction (by Pascal Arnold and Jean-Marc Barr) and gorgeous cinematography (by Barr and Chris Keohane), the alluring imagery and sensuous rhythms ultimately cast a spell over the audience. And that kicker at the end will send you reeling.
Probably only the French could get away with exploring sexuality from so many different angles in a single movie, and, true to form, "One to Another" plunges unflinchingly into topics that would normally never be broached in polite society. Lucie's quasi-incestuous relationship with Pierre, in particular, comes about as close to pushing the envelope as anything one is ever likely to find on screen (though Bertolucci's "The Dreamers," another popular French film from a few years back, dealt with a similar situation). And while the movie doesn't come right out and condemn the characters for their free-floating sexuality, it seems to imply that, without a clear moral compass to guide a person through life, even the most heinous of acts will finally be deemed acceptable.
One problem with the movie is that, while Lucie is a beautifully realized and compelling character (brought to exquisite life by Lizzie Brochere), the same cannot be said for the boys in the story, who look, dress and act so much alike that it often becomes hard to differentiate them one from another (though, I hasten to add that the actors are all very good in their roles). This not only leads to confusion on the part of the viewer but to an imbalance in the chemistry of the story, since Lucie is so much more intriguing than the men with whom she's having all these relationships. That sense of disorientation is further compounded in the early stages of the movie by the fact that it takes awhile for us to realize that many of the scenes we are watching are actually flashbacks to earlier events. Once we are able to get our temporal bearings, however, this ceases to be a problem and the structure actually enhances the insightfulness of the film.
"One to Another" is definitely worth checking out, provided one is not easily offended by nudity, simulated sex scenes, or the exploration of troubling themes. Moreover, because the movie is blessed with artful direction (by Pascal Arnold and Jean-Marc Barr) and gorgeous cinematography (by Barr and Chris Keohane), the alluring imagery and sensuous rhythms ultimately cast a spell over the audience. And that kicker at the end will send you reeling.