Shall We Kiss? April 17, 2009

SHALL WE KISS?
Sexy French Comedy from Director Emmanuel Mouret
Opens April 17, 2009 in Bay Area

Landmark’s Shattuck Cinemas, 2230 Shattuck Avenue, Berkeley, (510) 464-5980
Tickets are $10.00 for general admission and $8.00 for seniors, students and children

ALSO OPENING IN SAN FRANCISCO!
Landmark’s Embarcadero Center Cinema, One Embarcadero Center, Promenade Level, San Francisco, (415) 267-4893
Tickets are $10.50 for general admission and $8.25 for seniors and children

Advance tickets available at: http://www.landmarktheatres.com/tickets and at theatre box office.

Official Film Website: http://shallwekiss.com/

While traveling to Nantes for one evening, Emilie meets Gabriel. Equally seduced by one another, but both otherwise committed, they know they will probably never see each other again. He would like to kiss her. She as well, but a story prevents her from doing so: that of a married woman and of her best friend who were surprised by the effects of a kiss. Of a kiss that should have born no consequences.
Starring Julie Gayet, Michaël Cohen, Virginie Ledoyen, and Emmanuel Mouret. Written and directed by Emmanuel Mouret.

“A sexy, quintessentially French delicacy” – Stephen Holden, The New York Times

“The movie begins in Nantes, where a chance encounter between a Parisian fabric designer (Julie Gayet) and a local art restorer (Michaël Cohen) leads to dinner, drinks and nearly to the titular meeting of the lips. But wait, the woman says — first, she must tell a cautionary tale about how a similarly innocent smooch created seismic shifts in the relationships of two other couples. That story then plays out in flashback, with the hangdog Mouret perfectly self-cast as a lovelorn schoolteacher who falls for his best female friend (Virginie Ledoyen), no matter that she's happily married and he's dating a beautiful stewardess (played by ebulliently ditsy Frédérique Bel). I'll say no more about how it all ends up, except that Mouret marries Rohmer's visual lucidity and love of smart dialogue to the sort of screwball-comedy antics that wouldn't have seemed out of place in the films of Lubitsch or Hawks, and he does it all with a beguiling lightness of touch”. – Scott Foundas, LA Weekly