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The French have quite a tradition of films about prostitution. Starting of course by 'Belle de Jour', the iconic movie in which Cathérine Deneuve decides to work in a brothel out of boredom. Ten years ago, there was 'Nathalie', with Emannuelle Béart in the role of a high- class call girl who is hired to spy on a man suspected of adultery. And only two years ago, the underrated 'Elles' hit the screens, with Anaïs Demoustier as a young call girl and Juliette Binoche as a journalist writing a story about prostitution by students. These are just three examples, I'm sure there are more.

And now, 'Jeune et Jolie' (Young and Beautiful) is continuing the tradition. It tells the story of Isabelle, a quiet seventeen year old girl, who for unknown reasons starts working as a call girl. The film is divided into four chapters, one for every season. In the summer part, Isabelle loses her virginity to a German hunk during a beach holiday, just days before her seventeenth birthday. The next part is set in the autumn, and already Isabelle is working as a high heeled hooker, routinely visiting paying customers in posh Parisian hotels. The next winter everything goes wrong and her parents learn about her secret life. The last part, set in spring, shows how she is trying to pick up her old life as a student, but it's difficult to erase the past.

The good thing is that director François Ozon doesn't judge Isabelle, nor explains why she does what she does. He only suggests that she is not really happy, she seems remote, ill- tempered and emotionally vulnerable. Isabelle is not very popular or likable. The only one she really seems to connect to on an emotional level, is her younger brother Victor. In a recent interview, actress Marine Vacth suggests that Isabelle just wants to try something exciting. It might as well have been drugs.

Ozon tells the story well. Because of the four seasons concept, the story keeps on developing. He also throws in some nice cinematographic treats, like the small scene of Isabelle and her fellow students commenting in close-up about a poem by Rimbaud. The final scene consists of a surprising twist, involving some superb acting by Charlotte Rampling. Also working very well are the songs by Françoise Hardy on the soundtrack.

Apparently, 'Jeune & Jolie' has been described as 'Belle de Jour 2.0'. That is definitely exaggerated. But nevertheless, it is a fine coming-of-age film.

This film is incredibly slow and apathetic, but that's the beauty of it. Isabelle (Marine Vacth), a girl with a stable family who finds herself in a stable environment, is a strange creature. From what I've noticed, she only had a real connection with two people: her little brother and Alice (Charlotte Rampling). She decides to become a prostitute, even though she didn't need the money and could've had sex with any young guy, and her reasons to start doing such a thing aren't clear. François Ozon directed a film with a lot of million dollar questions.

From my personal perspective, she did it for the taste and the thrill provided by the sense of being independent, of doing something dangerous and morally wrong. Even though she felt somewhat disgusted and guilty for having sex with strange men, she kept doing it to, somehow, prove herself that she didn't need anyone's approval to do what she wanted to do - in this case, a dangerous and morally wrong thing. She probably didn't plan to tell anyone, but her family found out in a bad way. I see her as a rebel hearted girl who feels trapped in a cage (in her case, her mother, society, morality, a nice and stable life) and who's holding back her feelings because, if she let them out, they might be too overwhelming - that's why she so apathetic all the time. Or maybe she just couldn't care less about anyone because life is boring and we're gonna die.

I enjoyed the film. I enjoyed the photography, the scenarios, the actors, the language, etc. It's not an exciting production, though. It's the perfect movie to watch on a rainy Sunday, when there's nothing else to do.

Young & Beautiful is one of François Ozon's few completely serious movies, without even the gentle humor of In the House. This will appeal more to fans of Time to Leave or Under the Sand than to fans of 8 Women, for example - unless you love every movie he's ever made, as I do.

This is the marvelously well written, directed, photographed and acted story of a beautiful girl named Isabelle, from a prosperous and loving middle-class family, who turns 17 during the course of the movie. She and her younger brother Victor are best friends.

She has a strong sex drive but quickly discovers that she doesn't really enjoy the act itself. Her body insists on doing it, and she's in high demand because of her extraordinary beauty, so she goes online and turns it into a part-time job on weekdays after school. She does it more to channel her frighteningly strong drive into something productive than for the money - which seems to me like a remarkably intelligent and sensible decision for a 17-year-old. No one has any idea that she's doing it, even Victor.

Everything goes well until the police investigation of a sudden but natural death involves her, and the cops tell her mother. Since she's a minor, she's legally a victim, not a criminal, but the proverbial stuff hits the fan anyway.

Besides Ozon's brilliance and skill, which are remarkably consistent across the wide range of genres he experiments with, this movie is extraordinary for three wonderful performances. First is Marine Vacth as Isabelle. It's rare and delightful when a great beauty turns out to be greatly talented as well.

Second is Fantin Ravat as her little brother Victor. Theirs is the strongest, healthiest, most interesting and most gratifying sibling relationship I've ever seen.

Third is Charlotte Rampling as the wife of one of Isabelle's clients. The scene between her and Vacth is like a cinematic jewel, full of beauty and magic. Those two powerful women and Ozon raise an already very good movie into the heavens. Fantastic.

A young and beautiful girl sells her body to rich older men, lying about her age, and hiding it to her parents and friends. Until an unexpected event forces her to confront reality. The new film's subject from French director François Ozon is close to Julia Leigh's 2011 "Sleeping Beauty", but the treatment is quite different. Nothing is odd or strange here. We follow Isabelle's journey through the discovery of sexuality in a very realistic fashion, typical of Ozon's filmmaking.

The only trouble is that we are not troubled ! The script is so predictable that we get very few surprises throughout the film, and we do not care for Isabelle's fate at all. That's a shame considering the interesting subject.

The lack of explanation for her behavior is a good thing, we do not get the usual psychological/environment/parents syndrome, but this leads to a certain shallowness.

Actors do a fine number, especially the beautiful Marine Vacth, whom we should see again very soon, hopefully in a more rewarding role.

The French teenager Isabelle (Marine Vacth) is spending summer holiday with her middle-class family in the south of France and decides to lose her virginity with the German teenager Felix (Lucas Prisor). Then she returns to Paris with her mother Sylvie (Géraldine Pailhas), her stepfather Patrick (Frédéric Pierrot) and her younger brother Victor (Fantin Ravat).

Then Isabelle works as a call girl using the nickname Lea and meeting old men. She feels affection for her client Georges (Johan Leysen) that is married with a daughter. When Georges dies from a heart attack while having sex with Isabelle in a hotel, she flees but the police investigate and identifies her. The detectives in charge of the investigation disclose to Sylvie that is devastated. Isabelle quits prostitution, but once prostitute, forever prostitute.

"Jeune & Jolie" by François Ozon begins as a coming of age version of "Belle de Jour", where the lead character is attracted by money instead of by sexual fantasies. Even the poster recalls the one from Buñuel's masterpiece. Isabelle belongs to a middle-class family and does not have financial needs but despite of that, she is attracted by money. This is clear based on her reaction when her mother takes her money and when she explains to the police detective how she started to prostitute after receiving an offer from a stranger. Further, she is cold and seems to care only to her younger brother and Georges. When she loses her virginity with Felix, it seems to be part of her plan to explore her sexuality to make money. My vote is seven.

Title (Brazil): "Jovem e Bela" ("Young and Beautiful")

Having lived a relatively sheltered life, a young 17 year old girl, Isabelle (Marine Vacth), begins to explore her sexuality in rather a risqué fashion. We meet Isabelle on holiday on the eve of her 17th birthday. While on vacation, she meets a German boy and has an underwhelming first sexual experience. We meet her again in the Autumn to learn she is now leading a double life, moonlighting as a high class escort while still living under her mother's roof and attending school.

Of course there are some very ugly situations and in some hard to watch scenes, we see Isabelle near accepting the degrading attitude of some of her clients as if it is all her self worth, but then we also get to see her striking up a tender relationship of a different kind, with a much older man and later witness a conceited smile as she turns on her phone to a plethora of messages. Why does she do this to herself? Is it a form of self-harm or a narcissism? Is it an addiction, spurred from a desire to be loved without outwardly feeling capable of loving? Does she do it for the danger, the fear, the excitement, or is the money a factor also? Is it part due to having an estranged father? Does she enjoy it because it endows her with power over men and draws jealousy and insecurity from women? Or is she simply feeling starved of experience and hungers exploration?

All these questions are certainly posed or at least hinted at, but don't expect clear explanations or moral conclusions. No, the movie explores these themes without outrightly condemning or condoning her actions. Yes, Isabelle does draw herself into difficulty through her actions, but the discourse of this movie is not one of the obvious cause and effect we have come to know from mainstream cinema. There is no deus et machina to extricate an easy exit or satisfactory fix or lesson well learnt or crime punished. There are only the awkward moments that life throws at us in unexpected ways and uncomfortable truths that may never be satisfactorily reconciled. In other words, we are looking through a window into but a moment within this young lady's life --the passing of a year, the exploration of her sexuality-- and the fascinating aspect of this movie is that we see her live out the extraordinary in quite an ordinary way.

Isabelle is 17, astoundingly beautiful, with many young men willing to have sex with her; yet she lives a double life as a prostitute for older men showing little to no interest in the money she obtains from it.

So why does she do it?

The way that Ozon answers this question is what makes the Film so interesting to watch, that and of course the fact that Marine Vacth, who plays young Isabelle brilliantly, is so intensely addictive to look at.

"I could only make the film if I had an actress who was fascinating to look at ... it had to be an actress that the viewer, and myself, wanted to look at - almost as you'd look at an insect."

Isabelle's first sexual experience is cold, she feels used, she imagines herself watching with absolute disgust. After this experience she decides to be a prostitute serving older men in hotels. When one client doesn't pay the full agreed fee, it seems to distress Isabelle a lot more than what we'd expect considering she shows little use for the money she earns. But evidently its not the money that distresses her its the feeling that her sex isn't worth a lot, the doubt about her personal beauty, that men don't value her enough to pay the full amount. In the bar scene Isabelle has with Alice (Charlotte Rampling) Georges's widow, Alice tells Isabelle that she always wished men would pay to make love to her. Isabelle seems to relate to this and we see that they have reached an understanding. Alice is the only person in the film who seems to understand why Isabelle engaged in prostitution.

One of her regular clients, Georges, treats her more tenderly, pays without her needing to ask and seems genuinely fulfilled by her. When she explains this to the psychiatrist and that Georges's death saddened her, we realize what she really wanted, affection from her lovers which would prove that she is desirable. But since affection seemed foreign to her, she wanted proof by making men pay high amounts of money just to screw her. The assurance thrilled her and made her enjoy arranging times to offer her services. Georges was special to her, he not only payed but also acted affectionately, he asked her about her life and didn't demand much of her.

On the whole, the movie is brilliant. Marine Vacth's acting is superb, and Francois Ozon shows us in an articulate manner the inexplicable and unpredictable nature of a sexually-blossoming teenager's mindset.

An interesting movie, really, but I found it average.

As truly beautiful as she might be, it is not enough just to watch her on screen for ninety-five minutes, looking forlorn and pretty much totally bored.. (as were most all of us) for most of the entire time. With a better script and directing, it maybe would have amounted to something more than just a gorgeous teenager working as a high-end call girl. She does appear to have the acting talent (along with that amazing allure), but it'll have to be proved in another work. The rest of the cast is solid, and production values are good. It all boils down to a very thin storyline, with the one big question that never really gets close to being answered. Otherwise, a good portion of beautiful females out there would be selling themselves for no particular reason.

This film tells the story of a teenage middle class girl who explores her sexuality by becoming a prostitute.

"Young and Beautiful" shows a lot of skin, but little of the mind. I mean this in a good way though, because it keeps Isabelle's life choices mysterious. When it does show Isabelle's mind (in the scene where she talks to the psychologist), she opens up and shows her true emotions that have been suppressed. Isabelle's short confession is enough to provoke much thought, and makes the film more sophisticated. It's just like the scene towards the end, when she switches on her phone, her brief facial expression is already telling us a lot.

The plot is not as tight or thrilling as Ozon's previous film "In the House", but it is still enjoyable as it lingers my mind after watching it.

The movie creates ambivalent thoughts and feelings on many levels, on historic perspective, on the political grounds covered in sexual atmosphere prevalent in the West with case in point France, on the use of stereotypes and quality of storytelling.

Not much has changed in the West since Bunuel's Belle Du Jour. Its fallen capitalist system and the inevitable alienation and hypocrisy that shows itself in multiple facets of society including sexuality. I would add Ozon's own fixation on gay themes even in heterosexual films as an another result. In fact he makes as a director exactly what he criticizes in his film subject, so another level of Western hypocrisy.

So pretty Marine Vocht is! Well cast, well played. Her character asexual most of the time, a naive girl that sometimes grows up.

There is a slight directing fallout in the collage of sex scenes which falls flat, at times the movie just touches barely some of the themes and stays superficial.

Haneke's Cache corridors in the hotel were perfect! Immediately recognizable, Cache being one of the best European movies of all time.

Moral and sexual hypocrisy of the middle class is shown well a la Trier but much softer. Softer than Habla con Ella from Almodovar too.

Stereotyping of the German or the seemingly Middle Eastern guy had some truth in it and showing them side by side with French men was the right thing to do, showing the materialism transcending borders.

Psychologically the film explores known but important themes of narcissism, loneliness, alienation, vulnerability, an epidemic in the capitalist West. And on prostitution it was an interesting take with Charlotte Rampling's character and again did stay superficial since it ignores the system at the base.

It was great to see the girl being sorry for death of the guy rather than her prostitution. That violence and in general death gets a pass in the media and society while sexual escapades are always frowned upon.

All in all, it was good to see this film.

The movie does not beat you over the head with it's moral compass, although sometimes I wish it did. It felt like a small part of the movie due to the plot about a young seventeen year old becoming a prostitute after her first sexual experience, being so dominate in the majority of the first half. It seem like anything else they added was added just to make the movie a full feature.

How the movie's story works best is that it's about a family dealing with their oldest child's problem. You can insert what ever problem that child may be having, weather it's drugs or whatever else you'd expect teenage girls to go through. The fact that prostitution is a bit extreme does not matter, as they play it down to fit this scenario.

I came into the movie expecting to see French erotica and what I got was a film about a girl working through her teenage emotions, and pleasantly enjoyed the twist.

I was so impressed with François Ozon. I really like him! Why could he depict such a detailed and refined psychological description? Why did I feel it nicely? I was so wondering that. The Isabelle's beauty was one of the attractions of this movie. Of course, I liked her innocent appearance, and was fascinated with her subtle working.

17-years-old-girl is such changeable, so it was unsure. Youth is fleeting and beautiful. Every second various things get into her and go out. I felt like her feeling, but I never understand it completely because I have already passed through her age. So it was so impressive.

While losing her virginity, she was not a girl, neither a woman. She kept unstable in an awkward place. I coudn't resist her languorous face. The age of 17 was exact subtle unlike 18. I wondered if 18-years-old-people are recognized as the adults in France.

Although there were many sex scenes, I didn't feel bad at all. Or rather, they were beautiful like arts. I guessed the reason why most customers were old aged men and Western.

Before anyone gets a wrong idea that I am not a fan of French cinema, I have to say that I am quite the opposite, and it is with that state of mind that I approached this film. I really wanted to like it, and was willing to forgive many small and even some bigger mistakes. But, when an entire film is based on an unbelievable premise due to lack of motivation (and clear presence of repulsion toward such!), and when everything that follows is portrayed with distinct sense of repulsion, all of it wrapped up in a poor story, and even poorer observation of characters, there is really not much to celebrate here. The only reason I give this film three stars is Marine Vatch who was absolutely superb in her understated performance. Other than that, most everything was disappointing, from start to finish. The story could have been interesting if it better written. However, as it is, there is nothing to root for, nothing to discover, nothing to gain from watching what amounts to "watching the paint dry". It is slow, bordering with boring all the time, and the worst of all - empty. Devoid of any real emotion, good or bad. It is ennui at its worst. The ending missed a great opportunity for redemption, the middle part missed a great opportunity for some introspection, and the beginning missed a decent setup - as to why is the she doing the stuff she is doing... unless, of course, all you are after is a typical middle aged men's wet fantasy of a teenage girl who loves to get in bed with them. It appears that "Jeune and Jollie" is a thinly veiled attempt at selling us some sex as "deep and understated". It is neither deep nor understated, it is simply shallow and pointless. And yes, Marine is gorgeous, dressed or naked. I prefer her dressed as those other scenes were done in such poor taste I had to look away (literally). Not recommended at all, except as an insight into how quickly French cinema is failing.

The topic of teenage sexuality has always been a fascination of French auteur's and French cinema in general. Exploring the many fascinating avenues of contemporary sexual decision making and the choices of many multi-layered characters within the countless French narratives revolving around adolescents, François Ozon's latest Young & Beautiful is a mysteriously alluring tale of carnal choices and fateful meetings that shape the life of its protagonist Isabelle (played marvellously by Marine Vatch in a star-making performance) and the people's lives she touches upon her decision to become a prostitute in modern day Paris, France.

Opening on a family vacation somewhere on the idyllic French coast, we are introduced to Isabelle and her family during one of their annual summer vacations. The family, a well-to do working class unit, enjoy the very simple pleasures of togetherness and vacationing. Isabelle is introduced as a beautiful and presumably innocent young seventeen year-old girl who; enjoys laying on the beach, sharing her adolescent experiences with her curious little brother Victor (Fantin Ravat), and is looking to lose her virginity to a young and handsome German boy named Felix (Lucas Prisor). Coming face-to-face with the ideal of love and fleeting innocence as well as a version of herself she may never again become, the events that unfold during this particular summer vacation are the events that shape Isabelle and her tenacious, yet completely aloof understanding of love, sex, passion and pleasure, forever.

While the film premiered at last years Cannes International Film Festival, Young & Beautiful was unable to win the illustrious Palme D'Or, instead holding on to its 'in competition' nomination and watching its French relative, the instant cult classic Blue Is The Warmest Color take away the prize instead. While both films are from France and equally deal with young women's integration into a world of sexuality and the deep complexities of love, each film comments differently on the expectations of relationships and the harsh realities between the difference of love and lust. The irony of the two films lies in the exposure and expectations each film connotes. Blue, one of the most pronounced love stories of the last decade, gained its stark reputation thanks to the graphic lesbian sex scenes between its two stars and their prosthetic genitals. While Young & Beautiful is a film that follows the actions of an underage prostitute and her inability to accept love or the deep notions of human interactions with or without intercourse, Blue was the one that gained all the controversy. Young & Beautiful's protagonist Isabelle experiences a plethora of sexual preferences, from animalistic suedo-machoism, to gentle moments of tender affection, Isabelle's sexual memoir is highly dependent on her disconnection with herself and her misunderstood sexuality. Amidst sessions masturbating and boyfriends, Isabelle is less concerned than her search of the orgasm, and more preoccupied with the sexual experiences and the longing to be touched.

Youth is the topic under extreme scrutiny in François Ozon's latest sexual marvel of a film. Although many may see the film as a rendezvous towards exploring the psyche behind Isabelle's choice to being a prostitute, Ozon is interested much more on the idea of normal people enacting their suppressed desires to leading lives as outcasts, vagabonds and social rejects, for no good reason at all. Young & Beautiful is a brutal film starved of reasoning and logic and saturated with fundamental desires of action, spontaneity and the idea of 'want'.

Young & Beautiful radiants in its script. Elegantly written, Isabelle is at the centre of many of the revelations revealed in the film and the ways in which the characters progress. Her relationship between her brother is one that draws direct comparisons to a younger version of Brendan (Michael Fassbender) and Sissy (Carey Mulligan) in Shame, in the ways they share their sexual experiences and how they interact and have an unconditional love for one another, despite their ability to directly hurt each other. Scenes involving Isabelle and her mother Sylvie (Geraldine Palihas) are some in the best of the film, and how two women's lives of deceit and manipulation can differ so much. Isabelle interacts mostly with men, with the exception of her mother. Her relationship between her most beloved client Georges (Johan Leysen), an elderly business man who spends more time acknowledging the immense youthful beauty consuming Isabelle, provides the film with the closest thing we have to a love story. Additional scenes of Isabelle with her stepfather Patrick (Federic Pierrot), a therapist (Serge Hefez), and an unexpected client near the end of the film delivers poignant insight on the director's expectation of the imagination and impacts they have on reality.

Ozon does a masterful job of elevating drama, even if it is ever so slightly. His strength lies in his nuanced ability to change the perspectives of characters and surrounding events, with very little change of aesthetics or without completely changing the dynamics of characters. Ozon's greatest talent in Young & Beautiful lies in his arresting portrait of a young woman's whose life is spiralling out of control without any rhyme or reason, and his ability to convince audience members that the moment her lifestyle is challenged with the normalities of society, it is society who must adapt, and not Isabelle.

The beauty of the film lies predominantly on its vulnerable, delicate goddesy protagonist,Isabelle,who looks outrageously like alike a younger version of Julia Roberts, with a touch of girly innocence and less obtrusive, this is a star that brings the summer beach a shred of rosie taint and gossamer hormone heat. The film is not interested in giving a psychoanalysis of the characters' peculiar behaviors, nor inducing the audience's judgmental call by laying down a handful of evidentiary background. It simply told a story that I feel related to, as a precocious girl myself, the changing in my mentality on a daily basis is tantalizing, probably too chimerical to keep pace with the physique changing, and those changes keep pushing the boundaries with invisible flame burning inside me, I also like the excitement when received a message from a total stranger, putting on makeup for fun or just for practice, and going out in the noisy gloomy so that by the time I walk out of the building it will be dark, like a whole day just passed without notice. The fortunate difference is I've never encountered a traumatic emergency like that, I gradually stop this practice because my schoolwork is getting overwhelmed and have no mood to more rendezvous. If I have to make one disapproving point in the movie is its depiction of Isabelle's family and her relationship with her mother, which sort of allow the beautiful story become a generic and predictive one, of course, if there's a mischievous girl, we have to analyze her childhood memories and possible traumatic influence, there simply HAS to be a reason to justify its abnormality, a system of diagnosis and precedents with similar syndrome has to exist for us to corroborate and understand or even predict the behaviors. This psychoanalysis compulsiveness often baffles me when the concept of individuality seems to be quiet pervasively understood by the general populace, children growing in a wealthy and happy family can become all sort of formation whether you like it or not, and trying to label this as 'self objectification' or 'self-worth seeking''juvenile recalcitrance''coquettish trials to experience the feelings of growing mature'is not gonna work.

The relationship with her brother is beyond reproach though, in a primevally inquisitive and extremely genuine way, without fixing a value- laden adult assumption to it, the two siblings witness each other's growth with each other's innocent eyes, devoid of perversion or intrusion of the world of morally adults.