It has been nine years since we last met Jesse and Celine, the French-American couple who once met on a train in Vienna. They now live in Paris with twin daughters, but have spent a summer in Greece on the invitation of an author colleague of Jesse's. When the vacation is over and Jesse must send his teenage son off to the States, he begins to question his life decisions, and his relationship with Celine is at risk. Written by
Peter Brandt Nielsen
Like the previous films of the trilogy, the film includes reference to James Joyce: When Céline recalls a black-and-white film from her teenage years which had a powerful impact on her, particularly a scene in which a couple visit Pompeii and see the bodies mummified by the volcanic explosion. She doesn't name the film, but it is Viaggio in Italia (1954) which is loosely based on James Joyce's short story, 'The Dead'. See more »
In dining scene (42:05) Jesse (Ethan Hawke) and Anna (Ariane Labed) shown side by side but just after a shot (42:23) they are in distance. See more »
One of the perks of being over 35 is that you don't get raped as much.
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I tried to stick with it, but I gave up after an hour. But let me add that I haven't seen the previous two films, so this is the first time I've met these characters and I had no prior conceptions of them. The first third of the film is a discussion in the car driving back from the airport. The couple talk about everyday stuff - job, family, etc. It's the sort of conversation that happens between millions of people every day. Then they meet friends for lunch. And they talk about some stuff - his books, stuffing peppers, etc. There's nothing particularly insightful or clever about any of it. I don't think it was supposed to be. I think the idea was to make it real. It was real. It's the sort of regular conversation you might have with your friends. It's just making an observation.
I switched off here. Wasn't interested in these people enough to watch the third act. Astonished that somebody even bothered to write this.
I understand that some people find the whole voyeurism thing fascinating. Look, they've got kids, and we've got kids. They're just like us. Wow, kids really do say things like that. It is soooooo true. Huh, I've been in a relationship, and I know just what that feels like. Youngsters now are all on Facebook, aren't they? They certainly are! And they use Skype instead of calling. Oh, how the world has moved on, hasn't it? Soooo true!
Some people love that stuff. Reality TV is huge. This film is fictional reality TV. Personally, I'm not interested in the mundane. I don't feel the need to observe characters who don't inspire me. If there's a story there, then fine, I can put up with a certain amount of dullards twittering. But there's only so far my patience will stretch.
I am aware that there is a family called the Kardashians, who people watch constantly. I've never felt the need to observe them. I don't understand why so many people do. If you understand why, then you'll probably enjoy this film. Also, if you think "story" is something rather coarse and great art bucks the trend by simply observing everyday life, then you'll probably appreciate this film. As long as you're happy.
I love Woody Allen's films because of the brilliant writing, the sparkling dialogue, the wit. Midnight in Paris was a joy. This film feels like someone was trying to copy Woody Allen, but missed the mark entirely. We only have so much time on this planet. If I'm going to spend a couple of hours observing something, I'd choose the Sistine Chapel rather than the back wall of my neighbour's bungalow, even though both are undeniably real.
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