Tackling the heavy subject matter of an interfaith relationship between a Muslim and a Jew, Roschdy Zem, wearing two hats here as both director and lead actor, approaches his subject matter from a comedic angle, lightening the political and spiritual load of his film's premise. Zem plays Ishmael, a non-practicing Muslim with a Jewish best friend, who's been living with equally non-practicing Jewish girlfriend Clara (the lovely Cécile De France, also seen at SIFF this year in The Singer opposite Gerard Depardieu) for four years without religion being an issue. All that changes, though, when Clara gets pregnant. Suddenly, religious matters seem more important: Clara hangs a mezuzah (Jewish good luck symbol) on the doorway of their apartment; Ishmael insists that if the baby is a boy, he will be named after his father -- though he doesn't even like his father's name.

To further complicate matters, even after four years of living together, neither of them has told their parents about who they are dating. Having a baby on the way forces the issue, though -- they can no longer hide this potentially explosive issue from their families. Clara, when questioned by her parents about the identity of her mystery boyfriend -- is he a good Jewish boy? a Christian? -- will only reply that "he's French, like us." In a Guess Who's Coming to Dinner-esque scene, Clara decides to spring Ishmael on her family by inviting him to their house for dinner. Clara's father, opening the door to Ishmael holding a bouquet of flowers intended for Clara, mistakenly assumes that Ishmael is the delivery boy (yes, that's been done before, a lot, and it's just as predictable here as when we've seen it elsewhere, but that's a minor quibble).

The French are in love with happy endings. French cinema is classic for ending their films relating to love with disastrous, heart wrenching break ups. The lovers have passion and excitement, but never quite live happily ever after. Happily ever after is a definite go to in American cinema -- sometimes a requirement. Often times, films are rewritten or never made because they do not obtain those hopeful and uplifting endings -- especially in matters of love. Are the French following in the footsteps of America's audience-approved endings?

The answer seems to be yes. French box office charts are giving the number one slot to romantic comedies with those familiar 'love conquers all' endings. Pierre Salvadori is heading French box offices with his film Hors de prix (Priceless) starring Audrey Tautou and Gad Elmaleh -- a spin on America's Pretty Woman.

Why the change? Many changes have been happening in French cinema this year. France has been playing with war action films, 3D animation as well as relieving themselves of a snobby filmmaker attitude and connecting more with pleasing audiences. Some films are also dealing with the rising prejudices existing in France with the film Mauvaise foi (Bad Faith) -- where an Arab/Jewish couple's religions may cause the demise of their relationship. The director Roschdy Zem hopes to raise tolerance for those involved in the growing violence between the two groups using humor and film.

So are classic French love stories long gone? One of my favorites, The Umbrellas of Cherbourg, is devastating yet equally yummy in its story telling. The young lovers are torn apart by war as the possible defamation of an unwed pregnant woman throws her into the arms of another man -- it's so sad but so good. For now, French audiences are approving this new found happy ending; but I'm sure there are still plenty of French elitist filmmakers ready to rebel against the 'love conquers all' fairytales.