“Paris, 13th District” is the latest picture from acclaimed director Jacques Audiard, known for such award-winning films as “A Prophet” and “Rust and Bone.” In his latest, Audiard teams up with “Portrait of a Lady on Fire” writer Céline Sciamma and fellow French screenwriter Léa Mysius to tell the story of four young lovers in the electrifying, multicultural 13th arrondissement of Paris. The film opens in select theaters and on demand on April 15.
Adapted from Adrian Tomine’s acclaimed graphic novel, “Paris, 13th District” weaves a breezy tapestry of modern love stories. Lucie Zhang delivers a breakout performance as free-spirited Émilie, who begins a casual relationship with new roommate Camille (Makita Samba). Noémie Merlant (‘Portrait of a Lady on Fire’) plays wide-eyed student Nora, whose new life in Paris is complicated when she is accidentally mistaken for cam girl Amber Sweet (Jehnny Beth).
See David Cronenberg returns with ‘Crimes of the Future...
Adapted from Adrian Tomine’s acclaimed graphic novel, “Paris, 13th District” weaves a breezy tapestry of modern love stories. Lucie Zhang delivers a breakout performance as free-spirited Émilie, who begins a casual relationship with new roommate Camille (Makita Samba). Noémie Merlant (‘Portrait of a Lady on Fire’) plays wide-eyed student Nora, whose new life in Paris is complicated when she is accidentally mistaken for cam girl Amber Sweet (Jehnny Beth).
See David Cronenberg returns with ‘Crimes of the Future...
- 4/15/2022
- by Denton Davidson
- Gold Derby
This review of “Paris, 13th District” was first published on July 14, 2021, after the film’s premiere at the Cannes Film Festival.
“Paris, 13th District” starts with cool black-and-white drone shots of a concrete estate in the 13th arrondissement of Paris, and it comes from the hand of Palme d’Or winning director Jacques Audiard. So one could be forgiven for anticipating a tough, urban movie in the ground-breaking mold of Mathieu Kassovitz’s 1995 drama “La Haine.”
However, the opening montage of Woody Allen’s “Manhattan” is closer in spirit to this film, which opens in U.S. theaters Friday. The unrest and turbulence in “Paris, 13th District” is all of the heart.
Audiard’s film is a network of interconnected stories about various young, multi-cultural Parisians living in the tower blocks, based on three stories by American illustrator Adrian Tomine, taken from his 2015 collection “Killing and Dying” and transposed to this Parisian quartier.
“Paris, 13th District” starts with cool black-and-white drone shots of a concrete estate in the 13th arrondissement of Paris, and it comes from the hand of Palme d’Or winning director Jacques Audiard. So one could be forgiven for anticipating a tough, urban movie in the ground-breaking mold of Mathieu Kassovitz’s 1995 drama “La Haine.”
However, the opening montage of Woody Allen’s “Manhattan” is closer in spirit to this film, which opens in U.S. theaters Friday. The unrest and turbulence in “Paris, 13th District” is all of the heart.
Audiard’s film is a network of interconnected stories about various young, multi-cultural Parisians living in the tower blocks, based on three stories by American illustrator Adrian Tomine, taken from his 2015 collection “Killing and Dying” and transposed to this Parisian quartier.
- 4/15/2022
- by Jason Solomons
- The Wrap
Perhaps you’ve heard the news: The big-screen sex scene is dead. Finished. Kaput. Or, if it’s not completely shuffling off this mortal coil, you could say that it’s on life support and being prepped for last rites. This death certificate has been issued before, of course, but given that recent think pieces have performed critical autopsies on carnal cinema — and that appreciations for erotic thrillers now double as eulogies — it feels as if the days of steamy movie hook-ups have been put indefinitely on hold. Blame the infantilization of audiences,...
- 4/14/2022
- by David Fear
- Rollingstone.com
There is no such thing as a typical Jacques Audiard film. Take his last three as examples: in 2012 he captured the trauma-induced romance between a wayfaring father and killer-whale trainer in rural seaside France in Rust and Bone; in 2015 he won the Palme d’Or for Dheepan, a film about a Sri Lankan freedom fighter who seeks refuge in Paris with the involuntary help of two strangers fronting as his wife and daughter; in 2018 he cast Joaquin Phoenix and John C. Reilly as bickering, sharp-shooting brothers hunting down Jake Gyllenhaal and Riz Ahmed in frontier-era Oregon in The Sisters Brothers. His newest, Paris, 13th District, is something entirely different.
Audiard’s career-spanning desire to jump from story to story has landed him some new, noteworthy co-writers. The wandering narrative was penned by Léa Mysius, Portrait of a Lady on Fire writer-director Céline Sciamma, and Audiard himself. It’s an interwoven...
Audiard’s career-spanning desire to jump from story to story has landed him some new, noteworthy co-writers. The wandering narrative was penned by Léa Mysius, Portrait of a Lady on Fire writer-director Céline Sciamma, and Audiard himself. It’s an interwoven...
- 7/26/2021
- by Luke Hicks
- The Film Stage
American cartoonist Adrian Tomine uses the graphic novel to do what that other form of literature — the standard gray-words-on-white-paper short story — simply hasn’t been able to achieve. Like any writer, he can go inside his characters’ heads, taking the X-ray of their most private insecurities and rendering it visible to the reader. “Is there a term for being paranoid about being paranoid?” asks the young woman in “Amber Sweet,” who is not the internet porn star of the story’s title but realizes that others see a resemblance and starts to worry that it’s ruining her life.
Not limited by words, Tomine can also show people’s faces, examining the way their expressions and body language change across a sequence of frames — revealing and concealing what they’re really feeling. These latter tools bring the medium far closer to cinema than the written word and may explain why...
Not limited by words, Tomine can also show people’s faces, examining the way their expressions and body language change across a sequence of frames — revealing and concealing what they’re really feeling. These latter tools bring the medium far closer to cinema than the written word and may explain why...
- 7/14/2021
- by Peter Debruge
- Variety Film + TV
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