I like the storyline of this show,it attract me so much

One of my all time favorites.

Disturbing yet enthralling

It's a mild crowd pleaser for people who are exhausted by blockbusters.

OK, the acting is good, and the camera work is competent, when we're not having to watch the lighting suddenly change for no reason, or when we're not wondering why two people sitting in a kitchen talking are getting snowed on. But the plot is ridiculous. The characters do a lot of talking, but not much else. Two of them allegedly work together in a real estate office, but they never do any work, and aside from one of the other characters in the movie, no one ever comes into their office. I kept wondering how they stayed in business. Two of them are allegedly brother and sister, but the sister is 40 years younger than the brother, and this difference is never explained. And why are they living together? Two are engaged, but there is not the slightest warmth between them, and we are left wondering how the engagement ever happened. Several characters seem to get a personality transplant halfway through the movie. One is always off camera, for no particular reason. None of them seems to have any basic common sense. They are completely unappealing, and therefore we never care what happens to them. The only compensation is the French, which is very clear and simple.

There are several reasons why I chose "Coeurs" as the first Alain Resnais film I would see, chief among them that it seemed interesting and was one of his more acclaimed recent films (and I didn't want to start with films of his that were probably influenced very heavily by the 'Nouveau Roman' writers he worked with, including obviously Alain Robbe-Grillet on "Last Year at Marienbad" and Marguerite Duras on "Hiroshima mon amour"). Also, I find myself very interested in the works of artists who have lived longer than most of us will but are still working, as there is frequently a sort of experience and wisdom there which fascinates me. Also, it was pointed out to me by more than one person that a screenplay I had written with a friend (before either of us had seen or even heard of "Coeurs") was conceptually similar and, according to the one person who had read it, had some plot similarities too. Naturally I wanted to see it for myself.Ultimately, aside from the format which is quite similar in its moving frequently between different groups of characters for relatively short scenes, there was only one striking similarity which I could detect: in both screenplays two characters go on a blind date using fake names. Other than that, my approach and thought process was almost entirely dissimilar to Resnais', and naturally, although I'd love to say otherwise, it is his which is more interesting. I call it Resnais' approach, but the film is based on an English play and translated/adapted by Jean-Michel Ribes, so due credit to them as well obviously. Still, I was impressed, after hearing from more than one person about Resnais being a generally unintellectual, commercial film-maker, with not only the film's formally dazzling structure, look, and editing, but with the impressive restraint shown at every step. There's no showboating here, and Resnais does absolutely nothing with the film that is not important somehow to the story and characters. His constant use of partitions, the emphasized staginess of the film (though not the acting), as well as the dissolves linking each scene to the next are all crucial to the thematic content of the film.I initially met the film with some resistance. Some of the humor was too cute, and it felt like light fluff to me initially. However, much like numerous other films, "Coeurs" eventually came together, making the whole experience worthwhile. Ultimately the only things which truly bothered me were some intrusive clichés, all of which were linked directly to the character Charlotte, who really singlehandedly keeps the film from reaching true greatness. Any scenes with her feel like a waste compared to the dazzling scenes with the other characters. Well, to be fair, not every scene: the stuff with Lionel is quite strong (but certainly not the nonsense with his father, which isn't funny nor dramatically strong). When you have a mosaic-like structure of this sort, it's natural that some parts will be less interesting (and it's up to the individual which parts are less interesting), but my personal reaction to Charlotte and her relationship with Thierry was not even mild amusement, but a severe disinterest. The film is oddly distant, surely to emphasize the loneliness of these characters, but it's also wonderfully warm most of the time, and most of the characters are extremely well-drawn. Then you have a caricature who is never truly explored to significantly lessen the quality of the film. It's just plain disappointing.A very interesting film, certainly a formally excellent one, but I was disappointed in the lesser sections of it. Still, it gets a strong recommendation from me, due to Resnais' direction, thanks to the truly superb acting, and, obviously, the parts of the film (which is the majority of it) which didn't get on my nerves. It's just frustrating that it falls just short of greatness. Also, I think I'm in love with Gaelle now, not the actress, the character.

What's good about this film are the Resnais trademarks - the beautiful apartments, the interesting details of decor and props, the great camera-work, the excellent acting from an attractive cast, the acute observation of people's behaviour, motivations and relationships. So, why the moderate score? All this attention on surface appearances results in a certain superficiality. Several unconnected stories, while not an unknown approach, create a certain distance from the characters. Influential relationships, for example father-son, are not shown on screen. And as in many French films, no-one seems to work much or has to deal with real world problems outside of relationships. There's little real logic in story lines or outcomes. There's also a certain clumsy dependence on overt clichés: video porn is compelling for men but denounced by women, men need space and women need children, there are difficult old men and naive young women, misunderstandings abound. Like candy floss or indeed video porn, enjoyable at the time, but it doesn't leave lasting memories.

There are lots of reasons to love "Coeurs" . At first, I must say, I hadn't great expectations for this French adaptation of the British play "Private Fears in Public Places", by the acclaimed Alan Ackynbourn. I was wrong: actor- director- screenwriter Jean-Michel Ribes did a clever job with the script. The stories of the six characters intersect smoothly, there are a few big laughs, but the general mood of the film is bitter-sweet and pensive. The ending is in a way very pessimistic: the very true-to-life message is love is a dream, and soon or later everybody has to wake up. The film shows remarkable acting. Italian Laura Morante was awarded with the Pasinetti award in Venice, but the rest of the cast is very strong as well. Honorable mentions go to Pierre Arditi's sensitive performance, and, with lighter tones, to André Dussollier's. Alain Resnais' direction, winner of the Silver Lion at the latest Venice film festival, left in the film a distinct theatrical feeling. The repeated image of the snowfall, used between one scene and another, is appropriate and poetic. Over all a good film - recommended. 8/10 in my book.