Nice idea to set a women's picture in and around a beauty salon. And nice amount of attention to the utopian ambience thereat, the assorted products and treatments, and the relations among staff and clientele. (An aging Bulle Ogier, immaculately groomed, makes a perfect proprietress.) But the heroine's personal story -- the pathological promiscuity, the ardent courtship from a younger wild-haired sculptor -- is cheaply novelettish. To complement the delusory world of the salon, the personal story needed only to be down-to-earth and true-to-life. Instead it is moonshine. Nathalie Baye bestows some intelligence and sensitivity, and there are tiny parts for the great Emmanuelle Riva and Edith Scob (fans of Georges Franju will not question the qualifier), and one for Micheline Presle, the mother of the film's writer-director, Tonie Marshall. With Samuel Le Bihan, Audrey Tautou, Mathilde Seigner. (1999) — Duncan Shepherd
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