"Femmes de Personne" revolves around the lives of three women who work together in a radiology clinic.

Isabelle (Caroline Cellier), unhappily married, arranges for the clinic's receptionist to have an affair with her husband. Cecile (Marthe Keller), unhappily unmarried, wends her way through a series of desultory affairs. Adeline (Fanny Cottencon), also unmarried and even unhappier, does the same.

Director Christopher Frank crosscuts crazily from woman to woman in a way that he presumably believes to be avant-garde, but which only confuses you in trying to follow characters who are already hard to keep track of, so blandly are they written.

The heroines' experiences never inform each other, and Frank himself doesn't seem to have any point of view on them, either. The movie just lies there -- it's like watching a souffle' that's already collapsed.

Except for a crisis that's jury-rigged into the end of the movie for some ninth-inning excitement, there's little narrative to "Femmes de Personne," less dramatic conflict, less humor still, and a couple of the dumbest "meet-cutes" of recent years.

The movie is archaically photographed (by Jean Tournier) in the kind of repetitive, unmotivated portrait lighting that went out with the Hollywood of the '50s, and Frank moves the camera without any choreography, as if he simply wanted to get his money's worth out of his Steadicam.

"Femmes de Personne" seems to have been constructed around its frequent flashes of nudity, many lovely, all gratuitous.

Femmes de Personne, at the K-B Paris, is unrated but contains nudity and sexual situations.