Anna has just left Paul who, annihilated by the separation, moves back with his father in Paris. His younger brother Jonathan, a casual student, still lives in his father's apartment and ... See full summary »
The solitary Daniel and Sonia share an uneasy love/hate relationship. Daniel's life is disrupted by the appearance of a stranger that proceeds to insinuate himself in his life. The man's ... See full summary »
The familiar conflicts of a film director planning to make a movie about his life and the confrontation he has with his wife, an actress who was turned down for such project in which she wanted to play herself.
Marcelline is an actress. Forty, single and childless, she begins rehearsals for Turgenev's A MONTH IN THE COUNTRY. Denis, the director, admires her greatly and promises he'll make her ... See full summary »
Valeria Bruni Tedeschi
Valeria Bruni Tedeschi,
Anna has just left Paul who, annihilated by the separation, moves back with his father in Paris. His younger brother Jonathan, a casual student, still lives in his father's apartment and spends most of his time womanizing and fooling around. But what this apparent lightness conceals is a deep wound. Jonathan, in fact, has never been able to overcome the death of his beloved sister. Meanwhile Paul sinks into depression... Written by
In one scene of the film, where Jonathan walks in front of the cinema, two movie posters are shown. One is for A History of Violence (2005), a film which was also released in cinemas in France via the same distributor as this film. The other is for Last Days (2005) starring Michael Pitt, who co-starred with Louis Garrel in The Dreamers (2003). See more »
I know you love me. That's the difference between us.
How can you know I love you? How can you be sure?
Before I followed you inside this hole, I lulled myself to sleep repeating "Paul loves me." I said it out loud hundreds of times, like a prayer. Meaningless words. We hardly knew each other. But something came about, something established. I believed you loved me. I had faith in your love. This belief never left me. We can pray to be loved by only one person. It's not the worst way to save a ...
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Stale ratatouille for nostalgic "nouvelle vagueurs", though Louis Garrel is compulsively watchable
After the ambitious and catastrophic "Ma Mère" -- which bowdlerized Georges Bataille and cheapened Isabelle Huppert's considerable talents -- director/writer Christophe Honoré tucks in his tail and tries to woo the audience with this moldy, silly, instantly forgettable feel-good Christmas movie (à la française, bien entendu) addressed to nostalgic "nouvelle vagueurs" and middle-aged couples (gay and straight).
Godard and especially Truffaut are major influences here, from the casting of Louis Garrel in a mix of the Belmondo/Brialy/Léaud inconsequential womanizers, to the presence of Truffaut habitués Guy Marchand (as the insufferable father) and Marie-France Pisier (as the phallic mother). It features a rip-off of, uh, homage to the jump into the Seine from "Jules et Jim"; a singularly unattractive exploration of wintry Paris (the film is called "Dans Paris", but the title should have been "Dans un Appartement Vachement Laid à Paris"); and the insertion of Godardian tricks (those neon signs and a "naturalistic" musical number over the telephone that will make you cringe with embarrassment for poor Romain Duris). Briefly, "Dans Paris" is an unexciting, visually mediocre cinephile's tribute to the French New Wave with nothing new, funny or witty to say: it's as stale as last week's ratatouille.
"Dans Paris" also advocates the arguable notion that depression can be cured by family love and chicken soup. The women in the film are either insensitive phallic bores (the Mother, Anna), dim-witted disposable sex toys (Jonathan's lovers) or dead (the sister). On the other hand, the men ooze warmth, sensitivity and emotion: they're so full of love and they show it so much and so often (the real love scenes are between the men here) that by the end you start wondering why families need women again, except for that nasty job of procreation.
The only reason to watch "Dans Paris" is that screen magnet Louis Garrel: with his silent movie star good looks (he's got Louise Brooks' eyes and eyebrows, his profile belongs to a vintage Art Déco poster) and uninhibited physicality (he's got no problem with parading naked, as we know by now), Garrel reunites Léaud's gauche charms, Belmondo's non-chalance and self-confidence, Brialy's ambiguous sexuality, and an emotional availability that renders him instantly likable in any part. A young star in the great tradition of the handsome, talented French "jeunes premiers", Garrel is definitely here to stay, and ready to create memorable characters like his François Dervieux in the magnificent "Les Amants Réguliers" -- all he needs is a decent role and a good director (none of which can be found here). Because of him, I'll give "Dans Paris" these 4 stars the film itself doesn't remotely deserve.
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