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 »
Giano and Luc are traveling through the woods when a storm breaks, forcing them to take shelter in Luc's villa. Gradually and insidiously, a competition emerges between them, with terrible consequences.
Ferdinando Cito Filomarino
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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 think we grossly underestimate our sorrows, in general. We always die of sadness, actually.
You mean sadness is put inside us at birth?
Like eye color?
Exactly. That's why it needs our care, but others can do nothing. No one can do anything about eye color. Also, I think it would be fair to let you take care of your sorrow alone.
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Apparently this rather languid French flick is something of an homage to the New Wave. There's quite a bit of all manner of homage running throughout in fact, with symbols namechecking JD Salinger and even - with a bedtime story concerning a cartoon wolf called Lulu - the resonance of another unrepentantly Parisian film, la Séparation. If Christian Vincent's film is about the rupture of a family unit then Honoré's concerns is re-composition, two brothers and estranged parents grope to rediscover their mutual centre of gravitation.
Inevitably it's all about style though, which often means simply filming on location, Dans Paris indeed. There are a number of quirks to make us mindful of the disjunct connections the family have to one another - an early break in the fourth wall as Louis Garrel addresses the camera, sped-up and fast-cut sequences, a touching final phone call where Romain Duris and his estranged girlfriend begin to sing their conversation along with the (non-diegetic) soundtrack. I found the capricious narrative trying and the tale wilfully inconclusive, despite a suggestion of schematic form. The acting's average too. 4/10
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