Slut in a Good Way(Charlotte a du fun)

The A.V. Club by Jesse Hassenger

Lorain’s film ultimately doesn’t go especially deep in detailing its romantic relationships, its friendships, or any overarching storyline. But Slut In A Good Way is more than the sum of its entanglements; the actors and the camera work so well together that it feels, at times, like a musical.

The Hollywood Reporter by John DeFore

Not exactly the celebration of female promiscuity its title suggests.

Austin Chronicle by Josh Kupecki

A sex-positive comedy that has a wit and a bite that are undeniable even though it at times traffics in traditional rom-com conventions.

Los Angeles Times by Katie Walsh

Though the commentary is incisive, the film’s loose structure often leaves the viewer feeling adrift watching a bunch of beautiful teens bicker and get busy. But if you can stick around long enough, Slut in a Good Way pulls through with the love story and the message, to boot.

RogerEbert.com by Monica Castillo

Ditching many of the high school movie tropes for idiosyncratic raunchy comedy, Lorain’s film deliberately calls out the double standard that still exists while letting her flawed young characters still have fun.

Variety by Peter Debruge

I don’t want to oversell Slut in a Good Way here. It’s a tiny movie, and the bleary black-and-white cinematography looks only a notch better than “Clerks,” and yet, like Antoine Desrosières’ “Sextape” (easily the funniest film I’ve ever seen in Cannes, but still without U.S. distribution), Lorain’s film challenges traditional gender roles in such a way that’s surface-level entertaining but also deep enough to inspire a college term paper or two.

Movie Nation by Roger Moore

A funny, thought-provoking teen romance/sex comedy in French, a light romp that never quite romps and doesn’t quite touch or delight.

The New York Times by Teo Bugbee

In satisfying fashion, Slut in a Good Way recognizes the potential for cruelty that exists as teenagers experiment and learn through sex, but its portrait of adolescence never feels less than loving.

TheWrap by Tricia Olszewski

Shot in black and white and set mostly in a retail environment, the French-Canadian film gives off a “Clerks” vibe as the trio of protagonists slack off, bitch about pay, and talk about life and love.