{8.5 stars}

ADORE could have turned out really cheesy, but the very real characters, along with a nice blend of funny and sad moods, fitting soundtrack, and pretty Australian beach scenery keep it from becoming so. Fine performances by all the major players. Though more character and conflict development may seem needed at first, we get to know everyone and everything gradually, and the fact that they are all just fairly "normal" (whatever that is) people is pivotal. Not the greatest script, but it's nothing if not realistic.

Regarding the plot: The way the improbable quadrangle develops is pretty convincing. Even if what's happening in the premise is nothing illegal, it's obviously weird if not downright perverse. Yet, I was surprised to find myself rooting for both couples as ADORE proceeded, wanting them all to be happy together. The way the two women bear a superficial resemblance to each other, causing us to occasionally forget who's whose mum and who's whose lover, is another interesting effect. Finally, the isolated cove with its stationary sun-raft is an apropos symbol.

Though it's obviously not a "family film" or one for younger children, there is no gore, serious nudity (just a couple of brief booty-shots of Robin Wright and Xavier Samuel),or other flinchable elements (unless you count the multiple unexplicit sex scenes).

ADORE is one of the strongest, most satisfying films to come out in recent years, and I enjoyed it immensely.

The audience is polarized in response to this astonishingly refreshing and brilliant little film: some are completely disgusted with the theme of 'aberrant love' while other are awash in the courageous work by director Anne Fontaine, Fontaine and Christopher Hampton's adaptation of Doris Lessing's short story 'The Grandmothers', and the acting by two of our finest actresses on the screen. Knowing that it is both loved and hated depending on the degree of appreciation for experimental film should be the driving force as to whether or not to take advantage witnessing this brave new film.

In New South Wales, Roz (Robin Wright),her husband Harold (Ben Mendelsohn) and their son Tom (James Frecheville) live near the beach. Lil, (Naomi Watts) who is a widow, lives nearby with her son Ian (Xavier Samuel). Roz and Lil are best friends, and so are Tom and Ian. Harold applies for and is offered a job in Sydney without telling Roz. He expects Roz to move to Sydney with him, however, she hesitates. After a night of drinking quite unexpectedly on the surface Ian and Roz start a sexual relationship. Tom discovers this and takes revenge by initiating a sexual relationship with Lil. Now Roz has even more reason to stay, and later Roz and Harold divorce. Two years of these two mothers/best friend's sons affairs pass but not without the inference that Roz and Lil are lesbians - a way for Lil to avoid the approach of a suitor Saul (Gary Sweet). Harold returns from Sydney and his new highly enviable job in the theater department and discovers the affairs and summarily absents himself from the situation and from Roz. There are hesitations, but these do not last long and the secret relationships continue. Eventually Tom goes to Sydney for a promising job interview in the theater. His visit to Sydney changes everything for four of them - the nasty truth has its way to come out and alter everybody's happy lives. The rest of the film is a rapidly moving progression of changing affinities and eventual strange resolutions.

The nuanced performances by Robin Wright and Naomi Watts are brilliant and very equally balanced with the sensuous and realistic portrayals By Xavier Samuel and James Frecheville. The chemistry is extraordinary and credible and makes what could have been a strained story work meticulously well. The cinematography by Christophe Beaucarne and the musical score by Christopher Gordon enhance the liquid flow of this stunning film. The story and the film itself require an emotionally mature audience able to accept variations on the themes of love and lust, but given there are mores to overcome, this is a brilliant art piece.

Grady Harp

At first it was morbidly fascinating to see how these forbidden romances would pan out but instead of being distasteful it turned out to be a powerful, beautifully filmed drama like no other before. Two forty something women, best friends from young fall in love with each other's teenage sons. The talented cast and tasteful adaptation make it succeed.

Naomi Watts and Robin Wright are two of the most beautiful and talented actresses around. They haven't won Oscars but totally deserve to. Naomi looked so beautiful and gave such a vulnerable performance where every complicated emotion can be seen. Robin Wright does a subtle hint of an Australian accent (just like her Swedish lilt in Dragon Tattoo). Her performance is also masterful and captivating.

The young actors are good too. Xavier Samuel of Twilight is so convincingly passionate that he makes the love believable. In fact once you accept the premise of the love for their mother's best friends, the fantasy world of this movie seems completely real.

French director and adaptor Anne Fontaine handles this difficult material as tastefully as possible. It is quite an accomplishment to show the bizarre dynamics of family and friendship a plausible way while testing the limits. The emotionally laden scenes are well constructed and the love scenes aren't lurid. The story doesn't drag at all because the characters are all sympathetic and you want them all to find some happiness.

Production is top notch. The setting and location the beach house and beach are stunning - no wonder no one wanted to leave.

Haunting and beautiful.