User reviews

Do you like well made movies with good acting and cinematography? Do you like trashy exploitation? If you answered yes to both of these questions then this is the movie for you. Some people are frustrated that someone would dare bring a story that belongs in a lurid paperback to screen with the former qualities, calling it cheap erotica with art-house pretensions. This is not true. "Secret Things" never overplays its hand and never asks to be taken as anything but what it is. It does not achieve things that a film like "Last Tango in Paris" does, but it doesn't try to (a good thing, given that it lacks Marlon Brando...). Instead, it tells a lurid story of manipulation and social climbing that is both quiet and operatic, sexy and repulsive. There's naked bodies present and food for thought if one is interested. A very well-made movie.

Two women who work at a bar decide to use sex to get what they want from life. While they become very successful, things also end up taking a turn or two that they didn't expect. I liked this very adult movie very much. This is a very sexy movie with some very likable women as the leads. The prospect of using sex as a means to an end is of course a way of life for many people, both male and female, and here we see it in action. Watching it I was surprised by how the film didn't go in the directions I thought it would and was pleased that it wasn't this dark noirish tale that cover art seemed to imply.Actually as I was watching the film I was struck by how much this film reminded me of Exterminating Angels, another off beat, but in a good way, French film about a director trying to get the right women to perform sexually for a film he was doing. When I checked IMDb after watching Secret Things I found that the director for both films was the same and that the process of making Secret Things was the inspiration for Exterminating Angels. I can't wait to have a double feature. A great deal of nudity and sexual activity, so keep this away from the kids. Recommended.

[S P O I L E R S]

Either because they were too shocking, or too bad, or just too French, Jean-Claude Brisseau's previous nine films (some just done for TV) haven't made it to the US. Choses secrètes (Secret Things) is having some limited distribution here. The film seduces initially with its intelligence and its elegant look; then it betrays us with tendentiousness, tedium, and numbing excess. If you loved Luchino Visconti's The Damned or Pier Paolo Pasolini's Salò, you will have to see this. If you respected Kubrick's Eyes Wide Shut, you may want to consider Choses secrètes, which some think does its moral consideration of sex and its orgy scenes better.

Whereas Dangerous Liaisons (the Choderlos de Laclos classic as well as its various film adaptations) involves the plot of a man and a woman to demolish a powerful and wicked female, this film involves two women out to get men in general. Brisseau's Nathalie (Coralie Revel), a stripper, coaches Sandrine (Sabrina Seyvecou), a barmaid, on how they can both become powerful through exploiting their own sexual daring. They've just been fired - literally thrown out on the street - from the club where they both work for refusing to have sex with customers afterward. Nathalie persuades the naïve, penniless Sandrine to move in with her and next day outlines her plan for the two of them to conquer the Paris business world.

This is all to be done through sex, and from scene one, there's plenty of masturbation -- orgasms, real or faked, come as often as explosions in action flicks -- and plenty of nudity, but only female in each case. Nathalie's simplistic, rather old-fashioned rule is that if they can give themselves pleasure, they need never be enslaved to any man. The typically French rationality of Nathalie's exposition of her plan undercuts the obvious softcore aspects of the film - for a while, that is.

And so does Choses secrètes' splendid appearance: the beauty of the two young women is set off by handsome cinematography and a generous use of sumptuous, richly colored drapery that makes the décor a pleasure to look at. One wishes American filmmakers could generate effects of taste and elegance with such simple means. But there is more to cinema than the visuals and this movie begins to seem little more than a Vogue shoot.

Wilder and prettier: that's the two girls' selling point. On the strength of a certain provocative appeal, we're to believe, they're hired at a major financial corporation, Nathalie in personnel, Sandrine in the top administrative office. Again the film's seductive: the sudden rise may be far fetched, but you want to see what happens.

Sandrine follows Nathalie's instructions and rejects a younger executive who wants to marry her: a big mistake; but she sticks to the program. Instead of dating the sincere young man, Sandrine seduces Delacroix, the firm's married, bored fifty-year-old (but handsome and lean) manager. Delacroix falls hopelessly in love. Sandrine fakes everything. Nathalie ignores her own rules and has a secret lover who hurts her. We have to guess who he is; but it's not hard: we know that Christophe (Fabrice Deville), the aged, ill boss's son, who's heir to the corporate fortune, is a gorgeous seducer who's literally driven women to commit suicide right before his eyes - and enjoyed watching. Christophe has a preposterous back-story to explain his moral emptiness.

Things go rapidly downhill when this monster of evil begins to dominate the scene. It doesn't help that the slightly corpulent Christophe looks more like last year's model than a real person. Looks and sound effects have started to take over Choses secrètes at this point. There haven't been such scenes of elegant depravity since Visconti. But there are too many orgies with Bach and Vivaldi masses played at top volume for background. It's over the top: the film self-destructs before one's eyes. And the old-fashioned moral tale - replete with blatant titillation over the `hell' it depicts - morphs into an increasingly tedious and surreal scenario. There's an angel of annihilation, a face transfixed by death, a bird of prey pecking at a bleeding chest: we're on the wilder fringes of the French imagination. Cocteau did this sort of thing much better.

In a final scene several years later Nathalie and Sandrine, now on separate paths, have a brief final meeting. One has a wholesome life and the other has become a pampered princess: using a stretch limo to suggest the latter's wealth was a genuinely bad idea. Both women look exactly the same as ever: like this year's models. The movie has completely disintegrated. There is nothing left to care about.

But I did love the drapery in Nathalie's bedroom. It promised better things.

For an infinitely smarter and ultimately more chic French film about love games, if you don't want to go to the source, de Laclos' Dangerous Liaisons and its film versions, rent a copy of Benoît Jacquot's School of Flesh (L'École de la chair), with Isabelle Huppert at her most sublimely disdainful. Nathalie and Sandrine combined aren't fit to dust her shoes.

"Secret Things" is about two beautiful young women, a stripper and a barmaid, who find themselves unemployed and decide to use their sex appeal as a tool to get on the fast track to success in the corporate world. Their scheme works well until they run up against a man who is even more cunning, ruthless, and base than they are. "Secret Things" opens with a nude autoerotic dance and appears to being going somewhere until it self-destructs in a crescendo of ponderous nonsense. The sagacious female protags become clueless dupes, the male antagonist turns into something so perverse it's almost funny, a black veiled figure with a bird appears and hangs out like some sort of specter, and the film quickly loses its credibility. "Secret Things" is chock full of sex which is obviously staged and the psychodramatics simply aren't believable. A coulda/shoulda been better example of when less would have been more. (C+)

The French do lyricism and erotica well, maybe it's the accents or the actors; more likely, the language itself. Mind you, had this been Demi Moore and Julia Roberts frolicking about, I'd have laughed myself silly; as it is, the two female leads - especially Sabrina Seyvecou - successfully show how powerful a currency sex appeal is. It begins as a feminist fable - the two girls thrown together at a strip club, consorting, exhibiting and daring one another to ever greater public displays of pleasurable posturing between hands and genitals -supposedly, in the belief that, with training, Sandrine can get an office job and sleep her way to the top.

Now, had this been tongue in cheek - and I'm not saying whose tongue, in whose cheek - had M Jean-Claude Brisseau, the director, used a lighter or defter touch, the sensual side would have melted our Haagen-Dazs and there could still have been a thought-provoking moral aspect, reflecting the power of, well, the femme fatale.

As it is, the film gets lost towards the end, implying that the playboy office boss is the real manipulator and the girls are mere pawns. The joyous, impish scenes when the two women dare one another to surreptitiously remove their underwear whilst seated in the subway, are long forgotten. Thankfully, Sabrina Seyvecou's natural charms are sufficient to blot out any significant disappointment. She could conquer my office any time.

I think the Haagen-Dazs has left a stain. At least, I think it's the Haagen-Dazs...

This is indeed twisted as another reviewer suggest. Right from the start there is something different. And I'm not talking about the staging of the first scene (which gets you in the mood for the rest of it, with its deception, although you will be able to see through it). I'm talking about a quiet figure in the background. More about that later, because the film does focus on one specific character who's also kind of narrating the whole thing.

And while narrating might not be the best way to go, developing the story that is, it fulfills its purpose here. The young woman in question and a friend, will have quite a ride, with some nude and sexual scenes along the way. And while the drama is the focus point of it all, it does deal with where women stand in society and how they might be able to improve. Don't expect it to be too philosophical though (I personally would have liked that), but it does have an interesting personal story to tell ... with some extra flavor that it

First of all I think something should be clarified, namely the explicitness of this film. If you are familiar with French films, there is a relatively little amount of full frontal nudity. And the sex scenes are on par with those of many a British film. Though that being said whilst the nudity of french cinema might be there to merely add a simple level of realism or aesthetic to the film, and the sex of British cinema be there again to add realism and a bit of British bravado. Les Choses Secretes uses sex merely as a plot device, and since the plot is pretty awful, so is the sex and by extension, the film.

The film starts with a woman masturbating in front of a big crowd of people at a bar. The bar tender is a young twenty something who seems to have formidable maths skills yet is working at a sleazy bar(?). She befriends the masturbating lady and from then the two girls seem intent on playing a game of manipulating men for no apparent reason other than to assert their female dominance on them.

What has the potential of being an interesting treatise on feminism, ends up essentially being a misogynistic bore. Whilst the first two acts keep you mildly interested with suspense to see how things unfold, it is the third act which ruins the film. Too much is given too late, we are suddenly confronted with a character, and a whole other plot dimension within the last 10 minutes. We are left asking many questions and none of them are answered. This coupled with a bizarrely surprising orgy scene and a curiously operatic score, shows how confused the film is. It sits on the fine line between potentially an arty shoot and a soft core porn shoot.

It would have been a lot better if it chose to be one or the other.

The opening scene in Secret Things slams you with its voyeuristic impact suggesting that this is a soft-porn exploitation in someone's private bedroom; however, the scene turns out to be an autoerotic exhibition onstage in a bar in Paris. Nathalie (Coralie Revel) is a gorgeous exotic dancer headlining in a dank bar in Paris. She is fired after a tiff with the calloused owner together with a naïve bartender Sandrine (Sabrina Seyvecou). The two ladies vow not to be used by men again. Nathalie encourages Sandrine to loosen her sexual inhibitions to get more out of life. She instructs Sandrine how to awaken her sexuality both in the bedroom and at public places such as a tunnel in the Metro. The pair decides to room together and scheme on how they will better their lot in life by using men to climb the ladder of success and become free spirits.

After the ladies land a job at the same firm, they plot on how to advance their positions using their sensuality as a manipulative tool. Nathalie quickly maneuvers a job as personnel assistant and Sandrina is now an executive secretary. Sandrina, currently an apt pupil in sexual prowess, manages to manipulate her superiors until she finally lands a position as secretary to the main supervisor. This formerly monogamous married man, who is twice Sandrine's age, falls madly in love with her to his detriment as they secretly hump their way across the screen both on the job and at other more acceptable venues. Sandrine flagrantly uses him to advance her career, yet plans on dumping him once she conquers the young CEO, a handsome and clever womanizer.

As the affair with her boss hardens, she begins to back off and he becomes more desperate to possess her. Nathalie on the other hand has fallen hard for an unrevealed lover, who apparently has dumped her. Sandrine attempts to console Nathalie and ultimately winds up in the sack with her. Now the plot begins to deteriorate as the newfound freedom they were both relishing begins to erode. Trapped by the amorous attention of her boss, Sandrine now imposes upon him to promote Nathalie to their office where they eventually indulge in a ménage à trois. This scenario further crumbles when the three are discovered in hot embrace in the restroom by the young stud of a CEO, who is even more Machiavellian than they are.

The plot now totally disintegrates into a banquet of ruthlessness, group sex, lesbian sex, three-way sex, and masturbation. Our heroines, now suffering much more than they did before they decided upon their quest to manipulate men, go along with the bizarre program foisted upon them. The story unfolds into some off the wall twists and unexpected ironies. However, when mixed with the continual bombardment of sexual exploitation, it adds little to the theme of the story. The film appears to take away more than it provides.

The first three quarters of the film are fun and interesting as we observe the women taking charge of their lives and maneuvering through office politics. The movie eventually falls apart dropping to the level of a soft-core porn movie, without rhyme or reason until the plot regresses to something secondary to the sexploitations. The director, Jean-Claude Brisseau presents quite a banquet of sexuality, turning on both men and women audiences throughout the film, while maintaining a nice balance of story and visual indulgence. This picture, in French with English subtitles, is deftly crafted so that you easily forget that you are reading everything instead of listening to the dialogue. Nathalie is so stunning and sexual on the screen that it is by itself well worth the price of admission. It is too bad the story falls apart in the third act; nevertheless, I would still recommend it for its visual arousing energy and remarkable premise.

I saw this movie last night; my date and I couldn't help but laughing throughout as it was so entertainingly bad. First, the softcore male-fantasy component was utterly cliche; constant female masturbation, lesbianism for the benefit of male eyes, "the one masterful man who can give her an orgasm", etc., etc. Second, the main male character's lines were some insanely sophomoric De Sade pastiche; my favorite line: "Am I crueler than God, or Creation?" Third, what was with the woman shrouded in black and her death bird? I thought I was watching an early-90s goth-punk video. Every time I saw her I thought they should have flashed "FORESHADOWING" in big letters on the screen.

Definitely see it for its unintentionally humorous badness.

A film about manipulative, mean-spirited and, at times, downright nasty people - and I absolutely loved it.

It's so refreshing to see a truly adult film these days. Not to mention, a film that doesn't just say it is erotic, it goes ahead and proves it. This is not a film for prudes, for those who are easily offended. But for adults who are willing to see some frank discussion about sex and some deliciously devious sexual politics, this film provides wonderful entertainment.

"Choses secrètes" is enormously entertaining with two thoroughly captivating leads. Sabrina Seyvecou, who turns in a spellbinding performance, has a sort of Heather Grahamish innocence and sexiness to her and, along with Coralie Revel, provides some of the most titillating scenes seen in a mainstream movie in many years.

There really aren't any good/wholesome characters in this film. But that's OK. (I suppose Cadene qualifies as a nice chap, but he's a minor character.) Because the cunning of the two women is so absolutely engrossing that you're quickly drawn into their wicked world. Watching them use people for their own ends and not quite knowing who is manipulating whom is one of the many charms of this sensual and exciting film.

The film comes apart toward the end. Unravels a bit, especially when writer/director Jean-Claude Brisseau resorts to awfully heavy-handed (and needless) symbolism. There's also a superfluous orgy scene that comes out of nowhere. I wish Brisseau would have come up with an original, atypical, less conventional denouement for his story.

If you like the works of Neil LaBute - "The Shape of Things," "Your Friends and Neighbors" and "In the Company of Men" - you should appreciate and enjoy "Choses secrètes."

This film won awards, which only goes to prove that you never can tell. After a start that is at least intriguing, the movie appears to settle on unremarkable terrain, the story of two young women who resolve to sleep their way to the top, but who come unstuck when they meet a man meaner than they are. Frequent explicit scenes features lashings of masturbation, lesbian sex and even incest can't really hide the orthodox nature of the story; and then, when the film does become original again, it does so in a way that is over-the-top, bizarre and unbelievable. What makes it worse is that this movie seems to take itself seriously, and though the entire cast is attractive, endless shots of gyrating bodies grow tiresome after a while. Strip them away, and what's left is both confusing and empty.

Sexual politics in the workplace are nothing new to the movies. It can be terrific stomping ground for social satire. But, rarely have I seen it given a worse treatment than in Jean-Claude Brisseau's good-looking but shallow SECRET THINGS.

Two French hotties, Sandrine and Nathalie, are booted from the bar where they both work for refusing to have sex with a patron and defending that decision, respectively. Soon, they're moving in together and engaging in an endless series of sexual exploits themselves to prove they aren't like everyone else. If they can screw in public and get away with it, what _don't_ they have the nerve for? Both women are unemployed, and both have healthy sexual appetites. Why not use what they have to get what they want -- in this case, climb the corporate ladder? It's a logical step, I guess. But, then Sandrine seems perfectly competent in her new job without the sex stuff. Sure, all the men want her, and without having to so much as flash a smile their direction, she's on her way to being promoted. So, why the insistence on manipulating men, too? I mean, aside from the bar incident, have they been wronged in some way? What makes these women tick?

The film doesn't quite know, and it _has_ to. Otherwise, it's just sex scenes strung together in no discernible order for no apparent reason other than to be titillating on top of intellectual. Only, it isn't either, really. It's far too talky, for one thing, and it doesn't make a great deal of sense; someone please explain to me why there's a wedding in this film. If not for the occasional display of the female form in all its glory, SECRET THINGS would be unendurable. The overheated episodes between Sandrine and Nathalie (mostly the masturbatory variety) are energetic but redundant, and there's an EYES WIDE SHUT-esque orgy scene that comes out of left field, for no apparent reason other than two minutes have gone by without a sex scene. Then again, this movie hits narrative bankruptcy long before. And the ending, if you can stay awake long enough, is absurd.

SECRET THINGS is not nearly as brazen or interesting or complex as it thinks it is. I don't have the energy to hate it, nor would I waste it if I did. The projector stopped about three times throughout an interminable hour and fifty-minute running time; I wish it had stopped more.

A stripper and a barmaid walk into a bar...um no (although that would have made a more interesting film)...they move in together, carry on with each other, and find employment at a bank so that they can seduce men and move up in the world. There is also an orgy scene that seems to be borrowed from another movie. In the end it tries to become an art movie with something important to say. The fact is this film does not know what it wants to be when it grows up. The direction is pretentious and the acting is lame. Even the extended opening strip scene becomes tedious. Somehow this drivel was given the Best Film award by the famous French periodical Cashiers du Cinema.

One of the best movies I've seen in a while. Not for the conservative minded or squeamish, from beginning to end there is little more than sex. But that's integral to the plot. This is a movie that showcases the violence and the decay that is just under the surface of respectable society. It's about two strong characters who begin down the road to a tragedy of their own making. It questions morality, it pushes the limits, it steps over 'that thin line', and it takes us over the line with it. It is human weakness, irrationality, and most of all, obsession, on film.

The acting, both in and out of the "bedroom" was excellent. It is sometimes hard to follow, especially with the subtitles, but that only makes watching it a second time more worth it. I've never seen it on sale or for rent in a store, but if you have an online DVD rental service, then you'll have no problem getting a hold of it.

What a waste of time! The director clearly did not know what sort of film he wanted to make, so the film was extremely unsatisfying. Was he trying to make a copy of another bad film, Eyes Wide Shut? Was it supposed to be reality or a fable, a serious commentary on love or some soft porn, entertainment or just mind-numbing tedium. And just what on earth was an eagle doing there after the murder? None of the main characters seemed real. Generally I am pleasantly surprised at the quality of French films that make it across the Channel, but this one was meretricious and self-indulgent. I was going to say style over substance but there wasn't much style either. Best avoided unless simulated sex interests you.

Nathalie (Coralie Revel) is an exotic dancer, and Sandrine (Sabrina Seyvecou) is a bartender. They get fired by their scumbag boss and move in together where Nathalie teaches Sandrine how to use her femininity to capture men. They devise a plan to move up in the corporate world using sex to succeed.

They both get hired at the same bank and set their sights on Christophe Barnay (Fabrice Deville), as he will inherit the firm one day. She has no idea how twisted he truly is.

First, Sandrine gets a position under Delacroix (Delacroix), and uses her charms to completely captivate him. She gets Nathalie moved to the office, and soon they are a menage a trois for one night, as Christophe catches them and dismisses Delacroix, while promoting the both of them to higher positions.

Sandrine becomes involved with Christophe and his sister in another menage a trois. This leads to marriage and an amazing ending after his father dies.

Brilliant cinematography and music, and a fascinating story.

In fact it's a bit of a soap opera. Take away all the sex and you're left with some boring office politics you've seen dozens of times before.

The story has 2 girls (Nathalie and Sandrine) get fired from their jobs at a tawdry Paris strip club. They move in together and strike up some kind of weird, half-lesbian friendship. Sandrine has never had an honest orgasm and Nathalie teaches her how to. She also teaches her to lose her inhibitions and masturbate in public. Wow, this may have been shocking back in the 80s with Nine and Half Weeks and even lesser drivel like Wild Orchid but now, in the 21st century it's just plain boring. If the film thought it could use this frank portrayal of sexuality in its favor then it is very much mistaken.

In fact, the most interesting part of the film is when Nathalie and Sandrine both get jobs in the same office and use their sexiness to climb the ladder. This bit has also been done before in Neil Labute's In The Company of Men, but not as good. It's here that the best characters are featured but towards the end of the second act the film goes off in another tangent with the evil boss of the company turning out to be a crazed sex-maniac with delusions of godhood.

Again, sexuality is used as a way of shock or arousing us, but it just fails. There's so many other films out there that try the same thing and if you want to succeed at it then you either have to be really erotic or just plain pornographic (yup, two different things). Choses Secretes is neither. And the women need to seriously think about shaving George W. if you know what I mean. I know European women like to be au naturel but DAMN!

Overall, Choses Secretes is neither good or bad. It's simply middle of the road. For a film that tries to sell itself on loads of sex it's somewhat ironic that the best bits are in the scenes where people are just talking.

This film starts off relatively strong with two young girls making a pact to manipulate men in order to get ahead in life. French director Catherine Breillat's incendiary view of gender relations certainly came to mind but it soon became clear Les Choses Secrètes doesn't even deserve to be mentioned in the same breath as films like À ma soeur, Anatomie de l'enfer or Romance.

This film stumbles each time it tries to deviate from the norm. Its gender commentary is simplistic and its attempts at symbolism seem like an afterthought. The strong beginning becomes a mediocre middle and finally an almost laughable ending.

I have absolutely no idea how this was the top film of 2002 according to the once reputable Cahiers du Cinema when the best Breillat film has ever done was 9th place (Parfait amour/1996).

If you're looking for edgy gender commentary, get any of the aforementioned films by the brilliant Catherine Breillat. If you're looking for an erotic French film with nubile young women I'd highly recommend Naissance des pieuvres aka Water Lilies (2007).

I have not ever seen a movie that has not touched me at all. The actors (especially Olivier Soleir) are bad and the story is a joke! Stay away.

0/5

I saw this with nearly 300 of my closest, smelliest friends (big festival venues really bite). Thankfully, the film was so outstanding that I managed to survive the awful smells. Where to begin? This film is outstanding from beginning to end. Take out all of the sex and you have a daring look at the struggle for class and power. This film DOES have everything. It's smart, beautiful, funny and it's one of the few films that will make you blush. I can't recommend this enough. If you have the opportunity to see it, do. You won't regret it.

Was reasonably interesting for most of its duration, but throws this all away at the end. Degenerates into incredibly stupid and meaningless scenes, complete with pretentious fantasy sequences. Had potential to be so much better.

You gotta love the French. They may not know how to get rid of megalomaniac dictators (Hitler, Hussein), and few people outside the borders of La Republique would invest their hard-earned cash in a French automobile. But when it comes to sex-tinged business scandals, like the ELF `whore of the republic' saga, the French make the boys at Enron seem like virginal choirboys. And, oh yes, the French do know how to make a `thinking man's' erotic movie, as `Choses Secretes' (in French, with English subtitles) proves. And their wine and cheese isn't half bad, either.

For those in the mood for a thoroughly adult (i.e. aimed at mature audiences) film, that probes the dark side of human behavior and features plenty of beautiful women behaving naughtily, `Choses Secretes' does not disappoint. In the film, two young women, one already experienced in using her body for fun and profit, find quality jobs hard to come by in present-day Paris, so they decide to try the time-honored method of sexually manipulating men in order to rise to the top (at one point in the film, one of the minor characters mentions Madonna, who is accused of having done exactly this in the music business). This requires them to put their human feelings of love, friendship, kindness, loyalty, and decency on hold, which ends up being a huge struggle for them. However, one person in the film, the CEO of the company they go to work for, who is due to inherit the firm from his aging father, apparently has mastered the emotional distance required to be a truly manipulative, evil powermonger (`Choses Secretes' was filmed in 2002, and the revelations that came out in 2003 about Saddam Hussein's sons are chillingly close to this character). So, `Choses Secretes' does have a significant story to tell.

The film is well cast, and the three leads all give strong performances. From the moment we meet the two female leads, it is obvious from the looks in their faces that one of them is the more experienced, who will slowly lead the other into debauchery. The scenes by which the two women learn to use and enjoy their bodies are amusing, as are the portrayals of life in a Parisian office. The final third of the movie, however, is appropriately dark and sinister, and there is a sub-theme of incest that may bother some viewers (I had to remind myself that, after all, it is only a movie). Prudes, however, will have exited the theatre long before this sub-theme is reached. But those in the mood for an adult French cinematic experience containing both eye candy and food for thought won't be disappointed.