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Nadja in Paris (1964)
"Nadja à Paris" (original title)

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6.5
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Ratings: 6.5/10 from 394 users  
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Nadja is a guest student, who stays at Cité Universitaire and visits the Sorbonne, while preparing a thesis on Proust. Besides her student life she likes to stroll about Paris, to explore ... See full summary »

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Title: Nadja in Paris (1964)

Nadja in Paris (1964) on IMDb 6.5/10

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Nadja Tesich ...
Nadja
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Nadja is a guest student, who stays at Cité Universitaire and visits the Sorbonne, while preparing a thesis on Proust. Besides her student life she likes to stroll about Paris, to explore the variety of this wide and open city. She knows Saint-Germain-des-Prés well, but feels more comfortable among the bohemians, painters and writers in Montparnasse. Sometimes she wants to get out of the narrow area of intellectual Paris. She then goes to the park Buttes Chaumont and the working class neighborhood of Belleville. There she discovers a world that is simpler and more characteristic of France. This helps her to distance herself from everything that was superficial in her life. She thinks that Paris teaches you more about yourself than you learn about the city. Written by Maths Jesperson {maths.jesperson1@comhem.se}

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Pointless Rohmer Mercifully Brief
8 January 2008 | by (United States) – See all my reviews

The film says what it is as Nadja (acted and also written by Nadja Tesich) narrates her slacker existence in 64' Paris that is more (It has a better resume than our narrator.) a new wave Paris travelogue than Nadja. Nadja has the trendy look and possible mood of the impetuous, youthful feel ex-pat (ala Seberg) but only manages to project a spoiled child's lassitude which even at 24 minutes in length is overlong.

What makes this celluloid brevity interesting is the fact that it is directed by Eric Rohmer and lensed by Nestor Almendros (Days of Heaven). In Rohmer's case Nadja might serve as an opening to one of his moral tales - it certainly mimics the dull, self absorbed characters that never seem to get anywhere in his lengthier efforts. With Almendros photography you are given no clue he would become the accomplished cinematographer he was in both Europe and Hollywood. Some of it resembles my college film class super eight work with a poorly oiled tripod. It's encouraging to know that there were moments that he was as bad as me.


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