This is really a nice story, very true as my own experience, I believe anyone who ever been to that state or close to, things might go so tragic like that, The film is a truly reminder for all of us ---don't ever be that way when you fall in love, the ending could be whole lot different and you can get more than what it could offer. Self loving is always the infinity, the forever lesson for all of us to learn and stand on foot with it this life. We fall, then we grow. Brigitte Rouan is really a talent, she deserves more recognition than this film did. Great work as a female director, we need more of them like she is. Working on a project that might call her soul and she did it faithfully.

In Paris, the successful forty and something year old book editor Diane Clovier (Brigitte Roüan) is married with the lawyer Philippe Clovier (Patrick Chesnais) and they have teenage son and daughter. Diane meets the young engineer Emilio (Boris Terral) that is the roommate of the writer François Narou (Nils Tavernier) that is working with her, and they have an intense love affair. Meanwhile, Philippe is defending their neighbor that has killed her unfaithful husband sticking a fork in his neck and one day he overhears a phone conversation of Diane and her lover. When Emilio ends their affair, Diane gets deeply depressed missing her juvenile love, neglecting her husband and children that leave her. Meanwhile, the novel of François is published and he tries to help his self-indulgent editor to recover her emotional balance and self-esteem.

"Post Coïtum Animal Triste" is a dramatic romance about a woman in love and desire for a younger man. This film has a great performance of the director / actress Brigitte Roüan but the running time of 97 minutes is too long and the deserved a shorter edition. The situation of Diane, totally neglecting her son and her daughter, is unusual for a mother and I found her an unlikable character. The open conclusion is not clear and I do not know whether the intention of the author is to tell that Diane superseded her situation with her rebirth. I watched this movie on a VHS released by Cult Filmes distributor. My vote is five.

Title (Brazil): "Post Coïtum Animal Triste" ("Post Coitum Sad Animal")

"After Sex" tells of a comfortably successful middle aged professional women with a family who has an affair with a man 20 years her junior and goes into deep depression when he leaves. A very ordinary film in all respects, "After Sex" does not do justice to the story and mixes humor with drama schizophrenically rather than synergistically. Though the film does have its moments and is not completely devoid of appeal, it's not worth all the subtitle reading.

It is a typical European movie and a typical woman's movie. If you happen to like both, as I do, you will find it quite captivating and well made. There is not much action per se though quite a few nude sex scenes, done quite tastefully and not pruriently. The acting is good, the cinematography is average European, which is also good. There is some suspense. It is definitely not the best movie my wife and I have ever watched but we did not grudge the time and only once or twice felt like fast forwarding but the very next frame changed our minds.

Two scenes illustrate the subtlety and sophistication of this film. In the opening sequence, the image of a cat in heat is followed by that of the heroine-director writhing in the throes of a self-administered orgasm. In a contrasting scene, following some clothes-ripping sex, we see our heroine crossing the street *floating on a little cloud*.

Rather than a portrait of uncontrollable "animal" passion, this film has the feel of a manifesto: you men think you can portray female sexuality, *I* know what it's really like. But there is no genuine sensuality here, only hysterical febrility. After the sensitive portrayals of _Outremer_, rooted in historical reality, the creation of this empty cat-woman and her so-predictable stud is most disappointing. Even the implausible secondary plot of an elderly woman who murders her husband is refreshing by comparison.

For people who worry that they might be giving this film short shrift because they might not have caught all the subtitles, stop worrying. In French it's just as bad. You could miss all the subtitles and not miss anything. And it's a shame because this is a film, made by a woman, about a middle aged, married with 2 kids woman, falling helplessly in love with a much younger man. So it's the reversal of the standard scenario. Unfortunately, there is nothing here to keep us interested for the length of the film. The acting, though, is excellent.

This a story about a woman in love. Love is painful. And so is the movie...

The movie is bad in any reasonable sense, except maybe for the acting. If you are renting it with English subtitles, be prepared to miss about 50% of them. The photography is awful. The director tried to be pretentious, which made things worse. Let me tell you one thing about this movie:

If you didn't see it, keep it that way!

Maybe this would be a better movie if I spoke French. Although, actually I prefer subtitled movies to dubbed ones. The film wasn't awful, it just wasn't good. It bored me. I can point to no part or cast or crew that was any better or any worse than the whole. Don't waste your time. Grade: D-

The movie is at its best when it just captures the feverish substance of her passion, which it does vividly and candidly with a striking lack of self-consciousness on Rouan's part. But in its specifics, particularly in how it sets up the various male reactions to her behavior, the movie often seems somewhat schematic and labored, if not tedious. Her husband is defending a woman who stabbed her husband in the neck because of his affair - as he practices and prepares for her defence he copes with his growing knowledge of Rouan's adultery, and in that process can't help but argue in mitigation of his own wife; the mechanism seems clunky, if only because high-profile murders are such overly familiar, convenient thematic vessels for one thing or the other. The inspiration she provides to her main writer (who names his book after her description of a man's sweat) is too easy an external validation rather than a riding of the waves she creates for herself. The scenes of her trashed state are too much decrepit chic. Not that the overall trajectory doesn't more or less work, but the film constantly seems to be battling its own limitations, the restrictions it places on its central turbulence. The ending certainly seemed to me a very melodramatic signaling of redemption.