A story about the transition from late youth to early maturity, the film follows several friends and lovers as they come to make decisions on how to live their lives--getting a job more in ...
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In late nineteenth century Charante, Protestant minister Jean Barnery causes local disquiet when he arranges a separation from his obsessive wife - and more talk when he decides to take her... See full summary »
Gilles and Christine a boy and a girl live in the outskirts of Paris, their families are ineffective and distant and they lead a purposeless life. They steal some records in a supermarket ... See full summary »
London-based Emily Wang gained minor notoriety from her VJ-ing on cable television. She is now more renowned for being the longtime girlfriend and pseudo manager of rock musician Lee Hauser... See full summary »
Tina is a young warehousewoman in a supermarket. She is in love with Fred but still lives at her mother Nadine's. When Nadine dies, Tina looks for meeting her father Ludovic, who she never ... See full summary »
An Italian woman who lives in London has a passionate affair with a former financial big gun. She also had a second lover, a contract killer who has to kill the big gun. Her second lover's ... See full summary »
A story about the transition from late youth to early maturity, the film follows several friends and lovers as they come to make decisions on how to live their lives--getting a job more in harmony with ones ideals, committing to a lover, giving up a lover that no longer loves you: a film about grown-ups growing up. Written by
Josh Baudhuin <email@example.com>
I still didn't like this as much as "Demonlover" by a long stretch, but I thought it was a bit more well-executed than Irma Vep. The various aspects of Assayas's style are more fully integrated here, but I still find he has a tendency toward extended intellectual coffee shop dialogue (a la Godard) at times that I'm not crazy about, and which still doesn't mesh well with his penchant for moody visuals (in my opinion still is greatest strength). The film reminds me quite a bit of Michael Winterbottom's "Wonderland". Like that film, neither the characters nor the situations of the story are really that remarkable or interesting, but rather the movie derives it's strength from little fleeting moments. And also like Winterbottom, Assayas has an unfortunate tendency here to cut those moments slightly short. I found a number of times wanting scenes to continue longer than they did, building up more of that improvisational sense of intimacy, instead of frequently fading to black while the scene is still underway (similar to Winterbottom's "9 Songs"). Still, there are enough of those moments to make the film more than worthwhile. I definitely think it is Assayas's most approachable, warm film that I've seen. Not that I find he is necessarily a particularly cold or detached filmmaker ("Demonlover", if anything, may very well be a masterpiece of pure detachment and inhumanity, but I think that comes more from the concept of the film rather than the filmmaker, and "Irma Vep" was nothing if not a gushing love letter to his ex-wife, after all), but there seems to be a deliberate attempt in this film to capture something real and immediate, even if Assayas gets side tracked by the unfortunate boats of cerebral, intellectual café chatting.
5 of 9 people found this review helpful.
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