What is there to really say for such a movie? It has captured the very essence, the core of being in love. Intimacy, eroticism, playfulness, heartache and questions without answers.Excellent photography, wonderful music both score and songs.... Stana Katic aka Sofia is a work of art, a diamond of a woman. The Polish brothers did a great job writing and directing the movie. Right and wrong doesn't exist in a situation like this. A love story that leaves everything else out for enough time to get get carried away and just absorb it with everything you've got. For Lovers Only is exactly what the movie is all about.

The rawness played by Stana and Mark is astounding. Each glance, kiss and vocal tone is filled with emotion. You actually go on the journey with the characters and you become them. You become embroiled in this French love tryst before you realise and you become swept along in the beauty of the production. Knowing that the movie was shot so simply enhances your experience as a viewer. It feels so intimate and honest. It feels so right being shot in black and white too. The photography is just stunning, each frame is almost a work of art in itself. I cannot recommend this movie highly enough. It's a once-in-a-lifetime discovery. Absolutely love.

The movie is aesthetically beautiful... maybe too much. Each shot is designed to perfection. Nothing is left to chance and you will notice it sometimes... you will notice the presence of the director too. Beautiful the chosen black and white that reminds some of those Robert Doisneau's photos. All those things are intentional... As a matter of facts the movie is about photography, framing, it is about time stopping to build the perfect shot... doing this both in a picture and in life. Stopping the time in that unique instant, which is the art, which is sex, which is every moment in which we realize that we are living, but at that same time that particular moment soon gets us into sadness. Some scenes are really really beautiful... but there are too much of them that you could not digest it all! It's all so full, each frame is fragmented into a lot of other frames, faces the double mirrors, the transparency of glass and windows. In fact I struggle quoting one in particular... there are so many beautiful scenes and beautiful shots, all so dense but that density risks to remain diluted by and into the "too much". Beautiful close-ups of both the leading actors... breathtaking Stana Katic's ones that appears beautiful and is able to give her character a past and a future, with her expressions only. Very successful is the close attention for eyes, hands, mouths and tongues details... sometimes it my be a little intrusive. After 25 minutes the movie has a very interesting change in acceleration. The cutting becomes fast, the light high, and the music bursts. The shots change too, opening to shoot the two protagonists and not just parts/details of them. From this moment on it is a continuous succession of overlapping, wide shots and extreme close-ups, fast and slow cutting, sudden cuts and on-off alterning voices. At the beginning of the movie the protagonist tells his love to her: I do not photograph people anymore, but inanimate objects only, just because I do not see what I would like to see. In people I find only parts of you: your nose, your eyes, your hands ... but I can never see the whole of you, I can't find yourself. Beautiful is the motorcycle scene... I had already found it good watching the trailer, because of the metaphor between bike and sex. Feeling the bike's engine between the legs, his power under you. Feel when the gear engages and the bike spurts out under your body. To control that power, that emotion (similar to sex) something that explodes when you try to control it up to the end, but you know you cannot control it completely and totally. Nice the final scene, the only on color, shoot in a field of yellow flowers... looks like the scene from an old silent movie. In my opinion it's a very nice movie... maybe too much thought and reasoned... and I realize that in this nowadays reality, in which everything is done pulling it away, my opinion could appear as one of someone who is never satisfied, but that's it! The movie, I think is nice but lacks a bit in spontaneity... paradox, he lacks a bit of heart. But I do not want to be misunderstood: the movie is really very nice.

Mark and Michael Polish set out to make a timeless, intimate film about being in love and wound up making what appears to be on its way to an indie classic. The story is deceptively simple - a photographer and a journalist meet by chance again in Paris, eight years after splitting up. Shot in black and white with a small hand-held SLR camera, the film both recalls the verite style of the French New Wave, while simultaneously reminding us of the technological now of mobile phones and iPods. The result is something both retrospective and timeless; a tiny, heartfelt story in which yesterday is never quite understood and tomorrow may never come, but love lives on regardless. Michael Polish's cinematographic style has always been visually epic (Northfork), while Mark Polish's writing has always done gentle intimacy best (Twin Falls Idaho). Here, their strengths combine to create one of their best outings yet; the splendid landscapes of France backdrop for an intimacy possible only with a tiny camera and a crew of two. The brothers are aided by the luminous and perfectly retro-looking Stana Katic -- a modern cross between Audrey Hepburn and Sophia Lauren -- in an honest, beautifully understated performance which complements Mark Polish's habitually low-key style exceptionally well. Joyous and tender and heartbreaking, this is the kind of film that sticks with you long after it's done. Really a must-see, whatever you have to do to find it.