Emmanuel Mourcet is quietly carving out a niche as a master of the bittersweet love story, not only writing and directing but also starring and anyone who saw his last effort, Changement d'addresse, will want to catch this follow-up. Playing opposite him are two of the loveliest actresses in current French cinema, Julie Gayet and Virginie Ledoyen with Frederic Bel - who was also in Changement d'addresse - thrown if for good measure. Not a lot happens; Gayet asks directions from a stranger, accepts first a lift then a date but refuses the goodnight kiss she longs to accept. By way of explanation she tells a story of how another girl, Viginie Ledoyen, DID accept a kiss from Mouret that ultimately changed both their lives and it is, of course, more than possible that Gayet is using the 'a friend' ploy to speak about herself. You may not go that far to find a more charming and delightful movie but certainly farther than the corner drugstore, even a corner drugstore in the next town. If I were you I'd catch this one when it plays a cinema near you.

I saw this last month at the 2009 Palm Springs International Film Festival and of the 36 films I attended this would be in my top three. Not because it is skillfully executed art film or a masterfully crafted film with dynamic acting performances or with stunning art direction and cinematography and sound but simply because it so simple, original and extremely funny. I really enjoyed this romantic comedy farce from writer/director/actor Emmanuel Mouret who cast himself in one of the principal roles of Nicolas. It could be a stage play and maybe that's what Mouret had in mind when he wrote it. The story starts with Gabriel (Michael Cohen) and Emilie (Julie Gayet) who are strangers and have met by chance and enjoy an evening together as Emilie relates a story of how an innocent kiss can lead to unintended consequences. In Emilie's story told in flashbacks, she illustrates her point with that of Nicholas who confides in his friend Judith (Virginie Ledoyen) that he is addicted to physical intimacy but is afraid to start a new relationship with someone. Judith is married to Claudio (Stefano Accorsi) and doesn't want to be in a relationship with Nicholas so they come up with a plan to help Nicholas. The simple plan quickly goes wrong and escalates the problems and complications it develops throughout the story as told by Emilie. Fredrique Bel is also in the ensemble cast as Caline. The film of course a story within a story and both are delightfully spun. Mouret has delivered an absolutely charming, smart, fresh and witty film here that I would highly recommend and give it a full 10 out of 10.

We deserve to know more about Emmanuel Mouret, whose films Variety critic Derek Elley has with good reason called a combination of Woody Allen and Eric Rohmer. Like Woody, Mouret not only writes and directs but is his own delicately droll romantic comedy lead--who combines suggestions of Mr. Allen with M. Jean-Pierre Léaud and Mr. Petter Sellers. How come this is his sixth film and Americans haven't seen any of them? Perhaps because Mouret is a modest filmmaker, who works his way up gradually, adding a few more minutes each time: from 50, he went up to 76, then 85, and this time he's been bold enough to go to 100 minutes. This time, besides himself, following his well-received 2006 Change of Address/Changement d'adresse, which was part of the Diorector's Fortnight at Cannes, he's engaged Julie Gayet, Vieginie Ledoyen, and Stefano Accorsi as co-stars.

Shall We Kiss/Un baiser s'il vous plait is an ingeniously (at one or two moments almost too ingeniously) constructed story-within-a-story. The beauty of it is that the frame-tale is so well-written and acted that we care about visiting textile designer Emilie (Julie Gayet) and Gabriel (Michael Cohen),who gives her a ride on a visit to Nantes, parlays that into a dinner date, then asks her for a goodnight kiss--though the body of the film is the story Emilie tells Gabriel to explain why she thinks even that one kiss would be a dangerous thing. Emilie and Gabriel are a sexy couple, and the suspension of that kiss really keeps viewers holding their breath even as they enjoy the surprises and machinations that now unfold. Mouret's humane and entertaining film is full of a sense of how delicate romantic feelings are and how seamlessly in a courtship the clumsy and the comic and the beautiful can blend into one another. Perhaps best of all, the writer-director envisions a contemporary world in which such a thing as courtship, with its presumption of mutual respect and good manners among all concerned, can still exist.

Emilie's narrative brings in lab researcher Judith (Ledoyen),best friend of math teacher Nicolas (Mouret),who explains to her in one of their weekly tete-a-tetes that he's become so starved for "closeness" (complicité) that to be in the mood to initiate a new relationship he needs a little physical affection--and a kiss--to open him up. He's tried prostitutes, but like the young hustler protagonist of Techine's movie, they "don't kiss"--so that essential "complicité" is lacking. Shyly he asks Judith to help out. Their first attempts at intimacy are ludicrously tentative--with very French discussion back and forth about what to do next before each move forward. They wind up having sex, and though Judith lives with pharmacist Claudio (Accorsi) and (because the renewal of "closeness" apparently "worked") Nicolas soon meets and starts cohabiting with Caline ("Cuddles," Frederique Bel),the two "best friends" eventually have to admit that they can't forget the electricity of their physical encounter. Judith has to grant she isn't so crazy about Claudio any more, and Nicolas hasn't really fallen for Caline and is just hoping he might, later.

Mouret's art is in the way he plays with the old idea of people who have trouble recognizing their own feelings, and the cliché, existing only to be smashed, that best friends can't become lovers. Eventually the inevitable must be recognized. It isn't hard for Nicolas to sit down at a bar and tell Caline he's found someone else he cares about more, and she takes it with aplomb. But Emilie cares too much about Claudio to dump him, and she knows he has never looked at anyone else and has fragile feelings. An elaborate ruse is devised based on Claudio's passion for Schubert, and enlisting help from the cooperative Caline.

All this reminds Gabriel of something that happened to him....which is where the storytelling becomes rather intricate.

The ending is ingenious, but the fun is getting there, and the way Mouret's straightforward direction, simple camera-work, and above all his witty, well-paced dialogue keep the audience consistently engaged and delighted. The music always keeps it light--and smart, with Tchaikovsky ballet music leading off many of the early scenes, and Schubert chamber and solo piano music warmly fleshing out the emotional tone as the romance becomes more intense and more complicated. If you can watch this without having fun maybe you just don't like romantic comedy--at least not the French kind.

Shown as part of the Rendez-Vous with French Cinema at Lincoln Center, February 29-March 9, 2008; this opened in France December 12, 2007, receiving high marks from the critics (AlloCiné press rating 3.9).