Imagine any guy you know posing the question of the title to a gal pal. Imagine the possible replies from any platonic friend of the opposite gender. In the game between the sexes in 21st century America (or France), such formality would label the dude stupidly stiff or hopelessly robotic -- if not a moron. Hardly the stuff of conquest. Yet, however you characterize it, it's writer-director-actor Emmanuel Mouret's (Change of Address) chosen style for the story within the story of two parallel encounters.

Mouret's framing device is what happens when Gabriel (Michaël Cohen), a local resident in the port city of Nantes, meets attractive businesswoman Émilie (Julie Gayet) when she's there on a one-day business trip. They go through the stages of cautious attraction, dining together, and arriving at her hotel in his outsized vehicle having enjoyed companionship and a potential romance that's merely implied. When he tries to kiss her, she bolts away. But, she quickly explains why: It's because of the importance she attaches to a meeting of lips, which stems from a life-changing event in her life.

But wait, again! The promise of something developing between them remains a possibility as she decides to tell him that story, for which she invites him up. Thus begins the second storyline in which school teacher Nicolas (Emmanuel Mouret) and Judith (Virginie Ledoyen of The Beach) are featured in Émilie's narrative. As models for the current situation, Nicolas and Judith are best of friends and confidants until he utters the title question because he's dying for affection. He's come to ask his close pal for it after a brief and unfulfilling romp with a prostitute who wouldn't allow him to kiss her. (French filmgoers and some male Johns will recognize this as perfectly logical -- of course I know this only from books and movies).

Judith's response matches Nicolas' sappiness without guile or complaint, making for the development of a non-platonic relationship. Standard manners and expectations in matters of lust become irrelevant in this representation. Here, artificiality becomes reality, and it will apply to the framing relationship as well. You remember the couple telling and following the tale in a Nantes hotel room?

Moiret's construction works in a romantic comedy vein while sharply avoiding the standard approach. With an obviously low budget and no frills, he has his attractive cast adopting his offbeat behavioral design and creates a play world that is engaging enough to hold your quiet interest. It's a double sexual fantasy that has enough titillation to make it clear that this is all about erotic attraction while stopping short of the hotter details. Sorry, guys, no frontals.

The ensemble of Ledoyen, Mouret, Gayet, and Cohen deliver the goods in a consistent, if overly brisk, skein of mutual seduction that holds together as much for its discipline as for the team's thespian talent. Charming, but too contrived for a great turn on. Can I feel you up now?

Aka Un baiser s'il vous plaît.



Shall we grope?