Based on a controversial French novel, Lila Says tells the story of a quiet young poet named Chimo who develops a crush on the pretty, blond Lila, a girl who recently moved into his Arab ghetto with her aunt. When the leader of a rival gang also falls for Lila, the ensuing love triangle initiates a journey of sexual discovery -- and sets off a chain of devastating events.
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Reviews
It is a performances centric movie
At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.
Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.
Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.
A young woman moves into an Arab community in France and is drawn to a young man who dreams of becoming a writer. What does Lila say? Lila talks a lot, but she doesn't really say anything. Just about all she does is talk dirty to the Arab boy. She practically begs him to have at her, but he's too timid to make a move. It is not clear why the slutty, blonde-haired Lila has moved into the neighborhood when she's not Arabic. Her behavior is also unexplained. Why does she invite a stranger to peak under her dress? And what type of twisted relationship does she have with the aunt with whom she lives? There are no clues given because the filmmakers are clueless.
"Precious" Lila? I'm sorry, but precious is the last thing I would call Lila. She seems to me to be quite the slut. Despite this, I did like the film in that it was in French (which is my major, so I'm biased) and the acting throughout was superb. "Lila Dit Ca" is a beautifully shot film, but not for young viewers, since much of the dialogue is explicit. You will blush, some of Lila's actions are a bit extreme. I liked the ending--it was both uplifting and realistic. This was certainly unlike any other film I've seen, so I feel like I'm broadening my horizons. This is not a waste of an hour and a half, I would recommend it.
Truly LILA SAYS, says it all. There is so much to take in throughout this movie. From the beautiful camera work to the script which delivers a solid arsenal of sexual tension and brave dialog. Not since Jules and Jim has there been a movie like Lila Says that can cause separation in audience feeling and the characters. This movie succeeds in many ways, but seeing it it's English translation is worth it all. The writers, Mark Lawrence in particular, deserve to be congratulated in the writing of this script. From it's brave opening to the closure in the end, the movie keeps you wondering and worrying about precious LILA. Go see this movie while it is here.
In its desperate attempt at sensuality, Doueiri's "Lila Says" fails to arouse and excite, and instead careens out of control in a churning, over-acted mess. Starting out as a coming-of-age tale about a young adult, Chimo, the movie shows some promise. That is, until Lila arrives, offering to show her 'chatte' to Chimo on the occasion of their first meeting. Lila is a poster child for childhood sexual abuse, angrily taunting her aunt with her genitals, weaving tales of fantastic encounters with devils, and doing her best to convince Chimo to join her homemade orgy/porn project-- all the while keeping actual sexual encounters at arm's (or in Chimo's case, hand's) length.It's hard to see what Doueiri intends with Lila-- she never develops as a character, never becomes more compelling, and never inspires more than passing interest from the audience. Chimo's story is much more moving, but even that sputters out halfway through the film, around the time when we discover that he's been donating blood to keep himself in beer and cigarettes. So much for his plan to resist assimilation into French culture. But really, it doesn't make any difference, because there's nothing and nobody to care about in this film. Even the tragedy that befalls Lila is disturbing and horrible, but never really heart-rending. There are at least a hundred kernels of ideas here that would make great movies: Marseille-as-hotbed of French-Arab tension, the struggles of a poor writer wannabe, the damage done by sexually predatory guardians, sons reliving their fathers' romantic mistakes, etc. It's just a shame that Douieri tried to tackle them all at once, and in the process, succeeded at almost nothing.