"Shall We Kiss?" tells the story of complex relationships, further complicated by the simple existence of physical attraction and sexual tension. The film's four main characters have a unique chemistry (in their respective individual relationships: Judith with Nicolas and Emilie with Gabriel); relationships that can't particularly be compared to others in similar movies.

It's hard to say whether this movie was good or not. What's unique and intriguing about it is the story-within-a-story concept, something that might intrigue people to watch the film. The actors did not have the usual chemistry you'd expect to see in a romantic comedy film, but somehow, they made it work. The odd way they approached certain situations with each other made the movie a bit mysterious, in a way that the viewer looked forward to the upcoming scenes. For example, in scenes where you were just ready for them to resolve their sexual tension, they would not—or they would, just in an absurd way, by touching each other as if they'd break in half if any more force were to be used. The way these two relationships unfold is enough to keep the viewer's attention.

One idea that viewers might find interesting is how men and women alike have difficulty addressing their true feelings, and how to handle strong emotions towards friends and strangers when they know it could potentially ruin other relationships. For example, at the beginning of the film, when Emilie wants to kiss Gabriel, she has an internal battle between doing what's right and what's wrong, knowing that she has a significant other back home. While physically attracted to Gabriel, she tries to push off the kiss by diverting the conversation and they go and have drinks.

Another idea that viewers might find interesting—not necessarily positive or negative—is how it is so common not only in movies, but in real life, for best friends to fall in love with each other. In the film, I feel as if the audience is continuously rooting for Nicolas and Judith to get together, just as I was. Their unique chemistry translates so well on screen, and I feel as if many people can relate to it or have been in similar situations themselves.

Two aspects of the film that I found particularly French of the film were 1) how plain/bland everything was and 2) how stereotypically French it looks to Americans. For one, much of the wardrobe and set was white, beige, tan, or black. An example of this would be when Nicolas and Judith first get in bed: the sheets are white, the walls are white, her top is white, and he is wearing neutral colors as well. For the second aspect, Americans usually view the French as very cultured, interested in music and the arts. This is proved in the film when Claudio, Nicolas and Judith all attend an art gallery showing. I don't think this would particularly happen in American culture, especially seeing as Nicolas is a math teacher and Judith is a lab researcher.

The last thing that absolutely needs to be addressed is the talent that the director, Emmanuel Mouret, has. Not only does he direct the film, but he also plays the character of Nicolas, and he plays it well. But, he should be familiar in playing such a romantic role seeing as a majority of his films are romantic comedies. He has acted in ten films and has directed 8, although having only won one actual award ("Best Screenplay" for the Art of Love at the Montreal World Film Festival). This does not mean that he's a poor filmmaker, for he has been nominated for many, he just hasn't beat out the competition. Mouret is also a screenwriter; he has written 8 titles. Having written, directed, and acted in this film, this says much about Mouret's talent.

The 2007 French movie (Un baiser s'il vous plaît)is light summer fare, more rom than com, more sweet amusement that LOL, "more quirky than wacky," as reviewer Roger Moore said in the Orlando Sentinel. A Parisienne (the delectable Julie Gayet) stranded on the empty streets of Nantes with no taxis in sight accepts a ride to her hotel from a stranger (Michaël Cohen), the ride leads to dinner together and obvious attraction, and that leads to his request for a goodnight kiss, "a kiss without consequences," as they are both involved with other people. She says no and is persuaded (in fact this entire movie is filled with effectively clever persuasion) to tell him the story that she says would explain her refusal. That story becomes the majority of the movie, which Stephen Rea in the Philadelphia Inquirer, calls "impossibly French." Kisses can be very powerful, at least they are to the couple she describes, played charmingly by Virginie Ledoyen and Emmanuel Mouret, who also wrote and directed the film. They have been best friends for years and he, in a funk over his lack of physical connection with anyone, persuades her—a married woman—to kiss him. And, while the premise may be a little unrealistic, it's lighthearted fun, delivered smoothly.

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.