The French seem to be the only ones capable of producing films like "Marie Baie Des Anges" (Marie of the Bay of Angels). Seemingly about nothing in particular, yet complex and involved beyond belief, Manuel Pradal's writing and directing debut closely resembles Godard's "Breathless" in terms of its look, style and characterization. It also calls to mind André Techiné's "Les Roseaux Sauvages" (Wild Reeds), Denis Arcand's "Mauvais Sang" (Bad Blood), Jean-Jacques Beneix's "IP5: The Isle of Pachyderm" and any number of similar films. Given this list, it is easy to think that "Marie" is indeed well on its way to becoming a modern classic.

But wait. What is not so apparent, however, is that the film also bears a startling resemblance to a poorly made, straight-to-video independent film from America. It's all there: the unbridled lust and passion among adolescent gangsters, the phallic fascination with guns and sailors, the rides through a wooded area atop a motorcycle - a fine line differentiates between the type of product that ultimately results from this recipe, and "Marie Baie Des Anges" is that strange hybrid that succeeds on some counts, but fails miserably on others.

A tale of misspent youth, the film follows the summer adventures of Marie (Vahina Giocante), a wilful teenager intent on seducing the American sailors who have called at the port, and Orso (Frederic Malgras), a violence-addicted youth who might just be saved by his blossoming love for Marie. And that's about it.

Though lean on plot, the film is heavy on superficialities. There's an almost palpable sense of doom that permeates virtually every frame of the film even when the most innocent and innocuous events are being depicted. The camera is a restless eye that constantly moves, swirling up and around the photogenic cast who all look ready to star in the next Calvin Klein advertisement campaign. All these ingredients result in a film that is propelled by an overreaching sense of style, but which feels emotionally vacant and hollow. Marie and Orso are the types of teenagers you'd expect to hear about on the evening news, the ones who've gone off the track. By right, their tale should be compelling and troubling, but Pradal has buried their genuine problems beneath a haze of glossy jump-cuts and lush cinematography that objectifies the youth and bodies of the characters.

Both Vahina Giocante and Frederic Malgras have the sort of compelling screen presence that makes them extremely watchable, even though neither can really act. There is no sense of the troubles that drive Marie to seek the affections of sailors, nor is there any hint at why Orso is unable to live without violence, in their performances. Both actors are expressive and it is apparent that they are trying their best, although the result of their efforts still makes them seem blank and emotionally vacant.

Hailed by many critics and cited at numerous film festivals throughout the world, "Marie Baie Des Anges" could have benefited from a tighter script, clearer direction and a less obvious sense of derivation. As it is, it is pure visual candy, all excitement and rush to the senses, but nothing really worth lingering over.