One could consider this film like a cinematic whole-wheat pancake. Your film comes topped with butter, syrup, and all the fruits you can think of (the characters of the film). When it is presented originally Va Savoir looks tantalizingly delicious, but after ten minutes of eating you realize that you finished and still hungry. You realize that this mound of goodness was nothing more than fluffy cooked dough that will ultimately make you fat, lazy, and sleepy. While it may give you a high at first, the darkness of the inevitable 'sugar-low' is fast approaching and causing you to grab your stomach in disgust. Also, it was a flop. Perhaps that was a bit overboard, but I really wanted to explain this film in a way that was a bit more entertaining than the film itself. To put it bluntly, this film was like watching the grass grow in your back yard in anticipation of having to mow it again. It was slow, not very colorful, and a pain to sit through. When it finally gets too long, it hurts too much to do it again, but you know it must be done. That feeling is exactly how I felt about the film Va Savoir.<br /><br />This is a devoutly character based film. To make a deeply rooted character based film to work, you must first have exciting characters that you know your audience is going to want to follow. Sadly, this was not the case in this film. From the opening scene (where the subtitles were not working on my DVD) all the way till the final moments of the film, we have to follow four of the dullest characters in cinematic history. Cammille is our pilot, following an emotion and feeling that is never quite developed in the story and therefore never quite developed in her. Her mannerisms and reactions to situations made me feel as if she was a bit on the loony side. Perhaps it was the way that Jeanne Balibar chose to play her, but there was nothing making me believe that Cammille was a very strong character. Her actions throughout the film prove that much, but what are her motives and reasonings? That is never explained or developed, yet there was three hours to do it. Strange. This goes the same for Sonia, who I also never really fully grasped onto. She seemed to be in love, but at the same time enjoying moments with Arthur. Her need to rearrange made me think that her and Cammille had similar personalities (loony), which is what made them become friends near the end. Yet, again, it was never explained. We, the audience, were forced to follow a lot of assumptions in this film, and whenever we felt that we fully understood and connected with a character, Rivette would pull us further away. It was as if he never really wanted us to fully understand them, but still accept them. That didn't brood well with me.<br /><br />Couple this with random intermissions of the play that these performers are putting on for the Parisians only helps to confuse the audience. I couldn't tell if Cammille was actually acting in the play or just walking through the lines. Half the time it looked as if it bothered her to be there. There was no emotion or excitement when she was on stage prompting me to question whether she was this 'infamous' actress that they claimed her to be. I have seen several foreign films in my lifetime, but this one takes the cake as possibly the longest passenger car to Dullsville. I had trouble understanding the play that was happening throughout the film, thus causing me to care less about the characters. The final thirty minutes of this movie are actually fun. The scenes where Pierre and Ugo decide to duel are hysterical. I actually watched this scene over again because I enjoyed it so much. The connections made at the end tied the film up nicely, but still left too many questions unanswered. <br /><br />Overall, I was lost in this film. If you ever pick up this film and you see a blonde-hair, blue-eyes 26-year old wandering through the scenes, it is I just trying to understand this film. I can't figure it out, I can understand most Lynch, Gilliam, and others of the 'jigsaw puzzle' genre, but this was just beyond my control. The characters seemed drab and never fully comfortable in their roles, and those that were jumped between emotions like playing leapfrog in kindergarten. The stories were connected well, but it didn't make any difference if the characters (the glue of the stories) didn't hold them together. In your eyes, and in your DVD player, you can see where this film just falls apart. If you are looking for a stronger emotional powerhouse film where characters work with their characters and push the envelope even further, I would check out Paul Thomas Anderson's Magnolia. This film reminded me of Magnolia except bad. <br /><br />I don't suggest anyone wasting their three hours on this film, but who am I except a lost guy in this film. <br /><br />Again, if found, please return!<br /><br />Grade: * out of *****