Oh God, Women Are So Loving

(International sales: President Films, Paris.) Produced by Marie-Dominique Girodet. Directed, written by Magali Clement. Camera (color), Pierre Lhomme; editor, Amina Mazini; music, Jean-Jacques Lemetre; art direction, Bruno Bruneau; set decoration, Frederique Hurpeau; costume design, Clementine Joya; sound, Henri Morelle; assistant director, Michel Cheyko; casting, Francoise Menidrey. Reviewed at 14 Juillet Cinema, Paris, June 3, 1994. (In Cannes Film Festival -- market.) Running time: 87 MIN.

(International sales: President Films, Paris.) Produced by Marie-Dominique Girodet. Directed, written by Magali Clement. Camera (color), Pierre Lhomme; editor, Amina Mazini; music, Jean-Jacques Lemetre; art direction, Bruno Bruneau; set decoration, Frederique Hurpeau; costume design, Clementine Joya; sound, Henri Morelle; assistant director, Michel Cheyko; casting, Francoise Menidrey. Reviewed at 14 Juillet Cinema, Paris, June 3, 1994. (In Cannes Film Festival — market.) Running time: 87 MIN.

Anne … Catherine Jacob

Arthur … Etienne Chicot

Daniel … Mathieu Carriere

Jacques … Yves Beneyton

Mama … Pascale Audret

Regis … Jean-Pierre Malo

#With: Grace de Capitani, Fiona Gelin, Judith Remy.

Despite a large cast and frenetic intentions, “Oh God, Women Are So Loving” is a stillborn and uninvolving look at a single, working mother of three and the non-stop parade of friends, relatives and men in her life. Quick theatrical exposure and tube dates await this forced semi-comedy.

Pleasingly plump Catherine Jacob portrays Anne, who works as a TV series editor while raising her teenage son by ex-hubby Daniel (Mathieu Carriere) and 8 -year-old twin daughters by unnamed dad.

When carefree musician Arthur — who left Anne in the lurch a tell-tale eight years prior — shows up again and insists on courting her, Anne is ultra-hostile. Arthur’s presence confuses Anne’s ongoing affair with self-centered married doc Regis and her approach to a new love interest, soon-to-be-divorced Jacques.

Bland dialogue and contrived situations never convince, although harried households of fortyish French professionals probably resemble the places on display here. Director and scripter Magali Clement’s underdeveloped characters orbit around Jacob, who gamely plugs away, although her character’s behavior is frequently arbitrary.

Pleasant snippets of classically inflected music almost make up for scattershot pacing. Lensing is claustrophobic and workmanlike.

Oh God, Women Are So Loving

(FRENCH)

Production: An AMLF release (France) of an MDG Prods./Films 7/Centre Europeen Cinematographique Rhone-Alpes production with participation of Canal Plus and Sofiarp 2.

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