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It's a shame, because there is so much pain and sacrifice in Ana, Mon Amour that it really makes love feel like penance and weaves an exquisite psychological pattern to justify the claim.

For the exploration it undertakes in what drives the two lead characters, both so well portrayed by Postelnicu and Cavallioti, it is commendable.

Held up for UK release for over four years, this heavily-touted tale of Charlotte Rampling humping a chimpanzee turns out to be no more than a feature-length tease. Oshima fumbles around with the basic plot involving British diplomat Higgins' bizarre reaction to the news that his wife (Rampling) is getting it on with a primate — being a true patriot he prefers that idea to her going horizontal with Johnny Frenchman — and the whole thing lumbers along like a dead-weight farce as poor Higgins tries des­perately to find out what exactly goes on in bed between Rampling and the man-in-a-monkey-suit.

It all tries for a satirical tone somewhere between Bunuel and Noel Coward and it all falls tragically flat on its face.

They are, as one would say, profoundly human in their imperfections and the manner in which this comes to the surface as their relationship evolves feels very true.

The movie puts psychoanalysis at its core, turning it into an indirect plot device, which sometimes looks like a black box.

Impossible to take seriously or as satire, this film is an embarrassment to humanity and our cousins in the jungle.

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