Je t'aime moi non plus (film)  

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The plot of the movie centers on a homosexual man, played by Joe Dallesandro, who is attracted to "Johnny," a boyish looking woman, played by Jane Birkin. They begin an affair, which is complicated by the fact that he cannot maintain an erection via vaginal intercourse. The pain of anal intercourse is so great for Johnny, though, that her screams cause them to be thrown out of every hotel in town.

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Je t'aime... moi non plus is a 1976 feature film directed by Serge Gainsbourg, starring Jane Birkin, Hugues Quester and Joe Dallesandro, and featuring cameo appearances by Gérard Depardieu and Michel Blanc. The film premiered in France on March 10, 1976. The film is best known because of its title song.


The movie is a classic love triangle drama. Frail and love-starved girl Johnny (Jane Birkin) works in a truckstop café in the middle of nowhere. One day enter two truckers, manly and worldwise Krassky (Joe Dallesandro) and his lover Padovan (Hugues Quester), young and handsome, but immature and rather a handful. Krassky, tired of taking care of Padovan who keeps getting into trouble, discovers himself an attraction for this boyish girl, and she falls head over heels for him. They start a relationship; and even if at first Krassky's body hesitates before the meager feminine graces of curveless Johnny, he ends up being charmed by her naive and unconditional love. She is ready to accept anything out of love for him, including anal sex, though quite inexperienced at this, so that her screams of pain cause them to be thrown out of several motels... In the end, the back of Krassky's dirty garbage truck will be the theatre of their union.

Furiously jealous Padovan however, to win Krassky back, will shrink at nothing, including murder... and at the sight of this passionate jealousy, Krassky returns to his first love and leaves with him, abandoning little skinny Johnny in her café, brokenhearted and lonely again.


  • Je t'aime... moi non plus: Artistes et critiques (2004), a documentary by Maria de Medeiros on the love-hate relationship between directors and film critics.

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