The obvious thrust of the narrative is toward a central lesbian romance, plainly seen even in film posters, and queer representation that is welcome. But 'Eloïse's lover' also endeavors to present a more complete narrative all the while, with a progression toward that relationship that feels more natural, compared to other pictures one could name.

One can't help but feel that the premise, as described anywhere that one may read it or see it depicted, is a bit misleading. Before we know it half the runtime has passed, then two-thirds, then still more, and the plot has advanced so slowly - in every regard - that it almost feels to have gone nowhere. 'Eloïse's lover' wants to be seen as championing a romance between its leads, while also making it feel organic - yet by the time it begins to meaningfully bear fruit, the picture is near its very end. There's a sense that, as the saying goes, this movie wants to have its cake and eat it, too.

This is much more about the narrative as a whole, the tale of a young woman coming to learn what she wants of life, and to that end the story being told is engrossing and poignant. The ending is sharp and biting, made ever more so by the love Àsia (Diana Gómez) and Eloïse (Ariadna Cabrol) share - and the forces that have worked against them all along, not least of all some despicable displays of homophobia. There is an artfulness to director Jesús Garay's arrangement of shots that one does not anticipate in such a feature, a bent that bolsters a flow that tends to feel a bit lacking.

'Eloïse's lover' is not entirely fulfilling, but it's an engaging feature all the same, with swell performances from stars Gómez and Cabrol, and worth checking out if you're generally inclined.

And so the question with this movie is of course did we like it and the whole thing about the whole movie was weight of course not really acting but I ran some nice movements of the face and it turned the camera thing was beautiful and there are some crazy movement in time and I don't want to spoil too much and it was very peculiar but not really peculiar but still it was worth the time in the watch and a few watches on the right moment with the right partner and you can enjoy it definitely it doesn't reach the level of certain other game movies that have seen but it's still better than many other gay movies that I've seen so if you can't all the game movies are seen and you can definitely say it's worth it 7 on 10 and we don't know all of this but it's worth it nevertheless and right now the neighbors I seen above because they are very happy

Not a badly done story of a young university student, Asia, attracted to and then running off with a Bohemian girl, Eloise, though I had a few problems with it.

First of all, I happen to be rather quick at language and have been studying Spanish assiduously for ten years. I'm already on Lesson Two, "How To Find Your Way Around The Airport." Yet, I could hardly understand a word of this really el freako dialect. Okay, okay. It was shot in Cataluna. (I don't have that little diacritical mark for the "n".) I finally figured out it was shot in Spain because they pronounce "sais" as "shay". But --"D'accord" means, "Sure"? That's FRENCH! That aside, the film kept my interest. Asia is the pale, innocent, slightly shapeless, thoughtful and ordinary young lady. She has a casual boyfriend, Nat, who is an easy-going sort of guy who gets bored at the ballet. It's hard to see why he would. The ballet is no "Swan Lake" but some challenging stuff involving gymnastics out of Pilotes taking place among half-filled bottles of Evian water. Something like that. Weird, but hardly boring.

The tickets were given to Asia by Eloise, an artist of her own age for whom Asia is modeling. Eloise is different from Asia. She's a pariah at the university. She's dark, a little feral, with large, expressive, hypnotic eyes and plump sensual lips. The other girls gossip about her, giggle, call her a lesbian.

In fact, it turns out she pretty much is. Without really setting out to do so, she begins introducing Asia to the immoral life -- drinking at a gay bar, posing nude, and the next thing they're in the sack. When Asia wakes up she feels dirty. And then Asia's uptight mother begins to sense what's going on and there is a heated confrontation. Asia backslides for a while before realizing she must follow her bliss, then she runs off with Eloise and her own mother's doubtful blessings. Unless Asia dies first and the ending is a wistful dream -- I couldn't quite make it out.

It's always interesting to watch movies made outside of the English-speaking world. They broaden the mind. Mostly they broaden it by demonstrating the many parallels between the lives of these exotics and our own. Those stupid electric alarm clocks sound as irritating in Barcelona as they do in Keokuk, Iowa -- three high-pitched urgent beeps separated by a short space. In Morse Code, they're crying S -- S -- S. Beyond that, it's sometime amazing how closely the management of conflicts resemble each other across cultures.

Asia's mother, for instance, is a snoop, like many mothers, and paws through her daughter's personal effects until she uncovers evidence of the unholy alliance. She waits up all night for Asia to return from her date. But instead of confronting her, she gives Asia an expensive present, a formal dress, which she will wear when she next goes to the ballet -- WITH NAT. It's a sensitive and unspoken way or urging her daughter to return to the comforting folds of heterosexuality.

But I do have some problems with it. They're not necessarily serious ones but they are obvious. Example: Asia gets stoned and wanders into the ladies' room. She looks into the mirror, takes out her lipstick, and draws a mustache under her nose. It's a good idea because it illustrates Asia's confusion over her gender identity. But the scene is stupidly shot by the director. He has Asia stare not at her own image but at an angle, into the camera lens, so that when the mustache is complete the underestimated viewer can grasp what's going on. That clumsy mistake lancinates much of the good will that the movie has built up.

It's only partially compensated for by some other shots. One is a lengthy shot of Asia talking to Nat on the phone. The conversation ends on an ambiguous note, after which she hangs up, takes the phone out into the hall, and calls Eloise, while the camera lingers in the first room and we can only listen to Asia and Eloise, like the eavesdroppers we are. A less imaginative director would have done the expected and simply cut to Asia in the hallway. Instead, the conversation is as hidden from us as it is from society.

I like the way women look. They're beautiful. Not moreso than men but in a different way. Even with less than perfect figures they suggest a voluptuous grace. Men, with their hairy angularity, suggest strength.

In this case, when the musculature is stripped off, when the endoskeleton is laid bare, it's familiar territory -- tentative and unfulfilled woman finds release through the realization of her own sexuality. It's like "Emmanuelle," a search for the perfect orgasm if that orgasm had emotional overtones. "The Graduate" is a more grounded example, "Belle de Jour" more sophisticated. So it's a genre movie, but as this genre goes, it's involving enough. There is, by the way, considerable nudity but only one scene that's at all explicit.