Acting under the cover of a Hollywood producer scouting a location for a science fiction film, a CIA agent launches a dangerous operation to rescue six Americans in Tehran during the U.S. hostage crisis in Iran in 1980.
British retirees travel to India to take up residence in what they believe is a newly restored hotel. Less luxurious than its advertisements, the Marigold Hotel nevertheless slowly begins to charm in unexpected ways.
A dock worker in Le Havre hears a human sound inside one of the containers in port, that container which left Gabon three weeks ago and which was supposed to arrive in London five days after its departure from Gabon, which didn't happen. The Le Havre police and French border guards find a still alive group of illegal African immigrants inside. On the sign from one of his elders, a young teen boy among the illegal immigrants manages to escape, news of which hits the local media. The first friendly face that boy, Idrissa, encounters is that of former artist now aged shoeshine Marcel Marx. Marcel decides to help Idrissa by hiding him in his house, news which slowly trickles through his community of friends - most of whom he associates with at his local bar - and neighbors, most who assist Marcel in this task. Marcel goes to great lengths to find out Idrissa's story, which leads to Marcel's further task of trying to get Idrissa to London, his original end destination. The one neighbor who... Written by
Over the weekend I've watched two distinctly cinema-homage films. I say this to justify comparing Simon Pegg's Paul to Aki Kaurismäki's Le Havre, two films that might otherwise incomparable. I found Le Havre warm but occasionally baffling, which is as much a measure of my ignorance as of Kaurismäki's tenacity to older compositional styles and narratives.
The one clear reference that I couldn't miss was that of naming the protagonist's wife Arletty. Le Havre plays out rather like a floating analogy of a resistance drama, much like Marcel Carné's Les Enfants du Paradis, whence comes Arletty, the soul of the film, of France. Elsewhere I liked the heavily studied composition of many of the shots although they didn't always add up aesthetically and the inconsistency of this was distracting. For a film that's so aware of cinema, it was curiously lacking in self-awareness. 5/10
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