
Longing for a Kiss
2017
No Poster Available
2001
Director
Nanouk Leopold
Runtime
80 minutes
Average Rating
No ratings yetSynopsis
Kaat leaves Max the day after her thirtieth birthday and moves in with her friend Sascha. Kaat is in trouble. She is pregnant and doesnt know if the father is Max or Christophe, the boyfriend of Isa, another good friend of Kaat and Sascha. While Sascha and Isa try to find out what is really going on, Kaat keeps her mouth tightly shut and makes plans to cover her tracks by arranging a speedy abortion.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film lacks explicit LGBTQ+ characters or non-cisnormative identities. The narrative focuses on the fraught heterosexual dynamics between Kaat, Max, and their social circle.
Gender Representation
The story centers on female agency, driven by the decisions of Kaat, Sascha, and Isa. It subverts traditional tropes by prioritizing bodily autonomy and individual paths over domestic stability.
Racial & Ethnic Diversity
The film inhabits a homogeneous European social setting. There is no evidence of a multi-ethnic cast or intentional intersectional expansion within this localized cultural milieu.
Religious & Cultural Diversity
The film embraces secularism and moral relativism. It challenges traditionalist doctrines by centering a narrative around an unplanned pregnancy and the decision to seek an abortion.
Disability Representation
There is no evidence of characters with visible or invisible disabilities. The film focuses on psychological tension and existential solitude rather than neurodivergence or physical disability.
Strengths
Areas for Improvement
AI Analysis
Nanouk Leopold’s film is a minimalist study of isolation that finds its strength in the autonomy of its female protagonists. By centering the plot on Kaat’s internal conflicts and her decision regarding pregnancy, the film rejects traditional patriarchal hierarchies and the idealized family unit. However, the work remains limited by its narrow demographic scope. The setting is culturally homogeneous, lacking racial or ethnic diversity, and there is no visible representation of LGBTQ+ identities or disability. Ultimately, the film succeeds as a deconstruction of domestic drama, trading traditional stability for a complex look at individualistic, often lonely, agency.

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