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How Does MiraJeff Feel About PARIS JE T'AIME?!
Hey, everyone. ”Moriarty” here.
You know, there are other films besides SPIDER-MAN 3 opening this weekend. LUCKY YOU, for example, or perhaps PARIS JE T'AIME, which our own MiraJeff has a review of today. I know Quint quite likes this one, and I’m curious just because of that amazing roster of filmmakers involved:
Greetings AICN, MiraJeff here with a look at “Paris je t'aime,” a bold but ultimately meaningless under-taking from some of the world's finest filmmakers. Allow me to begin by pleading my ignorance regarding the nature of the short film format. That doesn't mean I don't like them or understand why they exist or what purpose they serve, it just means, I don't know the criteria on which to critique them. The only thing I do know is that most shorts are either unbelievably good or ridiculously bad. If you want to get a read on what I consider a great short, check this out. Regardless, if you're going to do a two-hour love letter to Paris in the form of 18 short films, you could do far worse than offerings from the Coen Brothers, Gus Van Sant, Alexander Payne, Alfonso Cuaron, Wes Craven, Tom Tykwer, Oliver Assayas, Richard LaGravanese, Christopher Doyle, Gurinder Chadha, Sylvain Chomet, Walter Salles, Gerard Depardieu and a handful of other acclaimed international filmmakers. The anthology concept was developed by producers Emmanuel Benbihy and Claudie Ossard, based on an idea from French TV director Tristan Carne. Each director was asked to tell the story of a romantic encounter in under five minutes in one of Paris' diverse neighborhoods, on a tight budget and a 2-3 day shooting schedule. "Paris je t'aime" is the uneven result.
It's pretty pointless to review the film as a singular entity, since there's no cohesion and the segments share nothing in common besides setting and language, so, for the purposes of this review, I've decided to rank the 18 shorts in order of my personal preference, from best to worst.
1. Faubourg Saint-Denis by Tom Tykwer- I guess this one was shot in 2002 under the title "True." Either way, this was by far the most visually interesting of the lot. Natalie Portman stars as a girl breaking up with her blind boyfriend (Melchior Beslon) over the phone. During their conversation, the boy retraces their relationship from his point of "view." Kind of spastic but altogether interesting and dynamic. I'd love to see this in its full form.
2. Bastille by Isabel Coixet- As a man prepares to tell his wife he's leaving her for his stewardess mistress, she reveals that she's been diagnosed with cancer. The man promptly texts his mistress 'forget me' and over the next several months, falls in love with his wife again as he tends to her needs. By acting like a man in love, he falls in love all over again, and when his wife eventually dies in his arms, his heart falls into an emotional coma it never recovers from. Stirring performances from Sergio Castellitto and Miranda Richardson sold me on this one, a standout of the group that reminded me of one of the stories in "Amores Perros."
3. Quartier Latin by Frederic Auburtin and Gerard Depardieu- Gena Rowlands wrote and co-stars in this installment opposite Ben Gazzara. They play separated spouses who are amicably settling the terms of their divorce. As painful as it is to move on, and despite some hurtful words ex-changed, they can't ignore the once-in-a-lifetime connection they share. In case you've forgotten how good she can be from her appearances in low-grade fare like "The Skeleton Key," Rowlands proves she is still as powerful an actress as her Cassavetes days, and Gazzara compliments her wonderfully. I think older audiences will like this one the best.
4. Quartier de la Madeleine by Vincenzo Natali (Canada)- The most thematically and visually different, Natali's segment stars Elijah Wood as a young man who stumbles upon a female vampire’s feeding frenzy. At first he's afraid but her beauty is so alluring, he is inevitably intrigued. Cutting his wrist with a broken bottle, he offers his blood to her. The bloodlust drives her crazy and soon they are both consumed by the thirst. This was the closest to Sin City/300 in its unique dark blue aesthetic, and Wood admirably conveys fear without making so much as a whimper or a scream. I would've sworn this one was Wes Craven's if I didn't know any better.
5. Tuileries by Joel and Ethan Coen- Probably the funniest entry of the bunch. I mean, from the moment Steve Buscemi turns his head toward the camera, you can tell this one is a lighthearted confection. Buscemi is silent all the way through. He's on the Metro, reading a tourist book of phrases and such, when he reads that under no circumstance should he make eye contact with anyone. Of course he locks eyes with a couple (Julie Bataille and Axel Kiener) who are making out across the tracks. The boyfriend takes offense and starts yelling at Buscemi, 'what the fuck are you looking at.' This gets the girl mad and she storms over to Buscemi's side to make out with him and get her boyfriend jealous. The kicker is that she has a lip growth that may or may not be herpes. Not surprising, considering Paris is the city for lovers of love. Eventually the boyfriend comes over to administer a Parisian beating, which is to say, not much of a beating at all. Tony Blundetto would've whacked this punk. All in all, an entertaining five minutes.
6. Place des Victoires by Nobuhiro Suwa- Juliette Binoche plays a grieving mother who hears her young son's voice and follows it to the middle of an empty street. She keeps repeating his last words. Out of nowhere, a mystical cowboy played by Willem Dafoe appears, granting them one last moment together. In the end, God give her the strength to move on. Binoche does an excellent job of communicating a mother's grief. A melancholic parable about faith, this is probably the most haunting entry in the film, and for that reason, it stays with you.
7. Quais de Seine by Gurinder Chadha- Three obnoxious teenagers sit by the bank of the Seine and cat-call women as they pass by. A cute Muslim girl listening to their raunchy conversation (Leila Bekhti) trips in front of them and her hijab falls off. One of the boys, Francois (Cyril Descours), helps her up and is instantly smitten with her as she explains the significance of her hijab. His friends tease him, but after the girl leaves to attend mosque, he ditches his friends and follows her, eventually meeting her father. This a hopeful fable of acceptance that challenges conventions of beauty and racial stereotyping. Just as Francois and his friends are initially skeptical of someone who dresses differently, it seemed to me like the girl's father was skeptical of Francois, who could've been little more than an ignorant local, but instead wants to know more about a culture different than his own. Chadha, of Bend It Like Beckham fame, seems genuinely interested in educating the audience and her thought-provoking short actually has a beginning, middle and end. Not only does the girl teach Francois how to treat a lady, it teaches the audience that beauty is about being comfortable in your own skin. Job well done.
8. Pigalle by Richard LaGravenese- An older gentleman (Bob Hoskins) sips a drink in a bar. A love song plays on the jukebox. He raises his glass to an older woman (Fanny Ardant) sitting across the bar. She tells him that the same song was playing the first and only time she fell in love. Then he disappears to the backroom to get a private dance from a stripper. The older woman follows him to the backroom and begins offering her goods, much to the stripper's surprise. It soon becomes clear that the older couple are married and trying to rekindle their fading love. They argue on their way out of the bar but stop when a group of street musicians begin playing the one and only love song. Hopkins brings a nice sense of humor to this scene and there is a touching poignancy to the couple's story. This one might've been a bit higher up if I didn't prefer the Gazzara/Rowlands segment more.
9. Place des Fetes by Oliver Schmitz- A male Lagos immigrant lays dying in a public park. A female inexperienced medic tends to his stomach's stab wound. As the man sings her a song and begs her to go to coffee with him, she realizes that they've met before. Hmmm... running out of adjectives already... let's just call this one interesting and move on.
10. 14eme Arrondissement by Alexander Payne- Payne and co-writer Nadine Eid concoct an oddball story of a middle-aged woman (Margo Martindale) who is on her dream vacation in Paris... all alone. There's a prevalent sadness to looms over her character, a mailwoman. As she walks around the city practicing her clumsy French, we can't help but feel bad for her as she reflects on her lonely life, of which she is fully accepting. Eventually this self-reflection leads her toward an epiphany about herself and about Paris. Maybe, just maybe, the two are the perfect match for each other. The blunt, matter-of-fact delivery of the script is kind of goofy, but Martin-dale carries the segment on her broad shoulders, shining as bright as Debbie Doebereiner in Bubble. Still, I would not have chosen to end the film on this note.
11. Quartier des Enfants Rouges by Oliver Assayas- I saw Demonlover. It wasn't my favorite but it was kinda cool. Assayas has a unique style, but unfortunately this segment does nothing to showcase it. Maggie Gyllenhaal is an actress in a period drama. She buys drugs from a local dealer. They go to an ATM together and share a weird moment. Later, she calls the dealer again under the pretense that she needs more drugs (she is an actress, after all, so that part is believable), but really she just wants to see him again. However, at this point, it is just a business transaction to the dealer and an insignificant one at that, so he sends his motorbike-riding lackey to deliver the drugs, leaving Maggie feeling all empty and alone. So basically this one teaches us drugs are neither good nor bad, but drug dealers that yearn to give love are perhaps incapable of it? I have no idea.
12. Le Marais by Gus Van Sant- Hmm... this one stars Hannibal Rising himself, Gaspard Ulliel, as a guy imaginatively named Gaspard. He works for Marianne Faithfull who takes him to a printer's shop. Here, he meets a young man named Eli (Elias McConnell). Gaspard has a feeling that Eli will be someone important to him. Eli rolls his own cigarettes and doesn't know how to respond. Literally. The joke is that Eli's French sucks and he really has very little idea what Gaspard is saying. Once he realizes it could've been something important, he runs down the street to find him. Aaaand scene! Ladies and gentlemen, Gus Van Sant! Cue inappropriate applause because no one has any idea what they're clapping at. Gus has now done Elephant, Gerry, Last Days, and now this. Very little happens in any of these stories. Hopefully Van Sant will reclaim his glory days and write an actual script for the Harvey Milk film he hopes to make. Despite Ulliel's subtle performance, his beady eyes hiding behind an unkempt mop of hair, this one was just too meta for me.
13. Montmartre by Bruno Podalydes- A middling opening scene featuring a lonely man (Podalydes himself) sitting in his car, watching women as they stroll by, wondering what is wrong with him that he can't go talk to one of them. His life is as empty as his glove box. His daydreaming is interrupted when a woman (Florence Muller) faints beside his car. This segment was a bit boring but thoroughly prepared me for what I was in store for. Both leads are charming and I like the way the director frames the shots of the woman lying down in the backseat of the car, but ultimately there wasn't much there to sink my teeth into and invest myself in.
14. Loin Du 16eme by Walter Salles and Daniela Thomas- This one might be the most simple segment of the film. Catalina Sandino Moreno plays a woman who sings a very intoxicating nursery rhyme. It works and puts babies right to bed. It's catchy and her soft voice made me like it a lot. That's about all that happens here. She leaves her baby in a local nursery while she works as a nanny in a ritzy neighborhood. Maybe the point is that as babies, we're all equal, there is no class system. All infants like being sung to, and falling asleep. Nice message. Boring short film. Sorry.
15. Parc Monceau by Alfonso Cuaron- Wow. I have no idea what the hell this was about. Nick Nolte stars as Ludivine Sagnier's dad. (Now there's a stretch) They used to have a close relationship but now she caters too much to her boyfriend's demands. They walk down a sidewalk and talk, which for Nolte these days seems increasingly difficult. At the end, the daughter leaves to enjoy a night with a friend of hers, while Nolte keeps an eye on somebody's baby and blows smoke in its face. Lovely. What a great time at the movies. This sums up Paris quite nicely. People blowing smoke without a care in the world. It feels like the majority of the film, if not the whole thing, is done in one-take, a la Children of Men, but you'd never guess they were directed by the same guy.
16. Pere-Lachaise by Wes Craven- Rufus Sewell plays a guy who's perfectly comfortable not having a sense of humor. Emily Mortimer plays his fiancé. She decides to visit Oscar Wilde's grave because he made her laugh. Sewell finds nothing funny in spending a Parisian vacation in a cemetery. She doesn't want to spend the rest of her life with someone who has such a cheerless disposition. She calls off the wedding and runs away amongst the tombstones. Wilde's ghost (played by Alexander Payne) appears to Sewell urging him to run after her lest he'll die of a broken heart. He does. They kiss. The end. Wes doesn't really bring any visual flourishes to his story, which commits the cardinal sin of being boring. Damn it's hard to review short films. I mean, it'd help to know something about the characters so we can feel their pain, and later rejoice when they're reunited, but this felt like a waste of 5 minutes. Nice change of pace Wes, but I liked you better when you were directing old-school horror classics (Last House on the Left) or reinventing the new school (Scream). This and writing Hills Have Eyes 2 with your kid ain't cutting it for a master of the horror genre.
17. Porte de Choisy by Christopher Doyle- I tried to get a handle on Doyle while reading that Shyamalan book where he came across like one strange dude. This head-scratching little oddball reinforces that idea. I don't know what the hell to make of this one. It is by far the most random and scattershot. Barbet Schroeder (as in, the director) visits a Chinese hair salon run by a real ass-kicker named Madame Lee. He helps her style some women's hair-dos. This was the most surreal, abstract entry in the film.
18. Tour Eiffel by Sylvain Chomet (France)- Two mimes fall in love in jail after the obnoxious male mime gets arrested for being annoying. Is there anything worse than an annoying mime? I just didn't like this one for a variety of reasons. I didn't like how the wacky characters feet are whirring blurs of motion as they move along the streets. It just seemed too cutesy and whimsical for its own good. This marks the first time Chomet uses real actors and it kind of shows. It might look cool, bringing to mind Smashing Pumpkins' video for "Tonight, Tonight," but this is certainly no Triplets of Belleville.
Allow me to rant, if you will. Why on Earth was this film made? Was it to show the differences between the 18 neighborhoods of Paris? Does anyone outside of Paris even care about those neighborhoods? Maybe I'm an unenlightened schmuck, but this film did nothing for me except reaffirm the bond I have with my wristwatch, which I stared at for most of this film's running time. To be fair, I think the second half is actually a bit better than the first, so it wasn't a completely torturous two hours, but still. What was the point of this film? There is no narrative thread to hold on to. We don't get to know any of the characters long enough to really care about them. What is the point of shorts in general? To show that you could make a great feature film with the proper time and resources? If one of these filmmakers really felt the need to tell a story about Paris, why didn't they do a feature-length? These seem like vanity projects that are "art" for art's sake. I mean, there is some truly good, interesting work on display here, but it's buried in so much lovey-dovey shit that's not worth sifting through to find the diamond in the rough. Forgive me for being so cynical, but I can't think of a single reason to recommend this theatrical experience to anyone. This should've been a straight-to-DVD effort so people could skip certain slow segments that bring nothing to the table. Why did all these talented actors and directors agree to take part in this cataclysmic undertaking that would've been better left as a series of home movies instead of a feature film to be released in theaters for people to somehow enjoy? I've gotta tip my hat to Benbihy for having the sheer balls to finance a film as tough a sell as this one, and to the filmmakers for at least trying something new and taking a risk, but like nearly every story in the film, it doesn't pay off. And isn't that why we go to the movies? For the payoff. For the money shot. For resolution. This is just a mish mash hodge podge of idealistic virtues.
That'll do it for me, folks. I'll be back with a positive look at The Wendell Baker Story, a Wilson Brothers movie that's been sitting on a shelf for two years for no apparent reason.
Email is welcome.
'Til next time, this is MiraJeff bidding adieu...
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merd!
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qu'une surprise. maintenant je dois lire l'article.
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Il semble être, cela personne veut commenter sur une "post" des courts films français. qu'une honte...
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it's true.
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...least number of talkback posts...ever.
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Je regrette.
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Oui,tres shit ("merde" en Francais).
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CREOLE LADY MARMALAAAAAAAAAAADE!
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come on, where else can I post this beside for the drooling mongoloids in the Lost TB as bait...http://tinyurl.com/2m7cju
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Paris Hilton's jail time she just received. No joke. I didn't even know this was a movie. I thought that it was just some cool french way of saying, "Paris Jail time".
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C'était une révision triste. Pourquoi est Mirajeff une telle boîte à outils?
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Sucka!
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... that this would have something to do with Paris Hilton, and her just being sentenced to 45 days in jail.
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Post of the fucking month. :D
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can't wait to see this. This is one of my favorite types of films. I am reminded of the longer films NEW YORK STORIES and my other favorite NIGHT ON EARTH. Films of short moments in people's lives can often have incredible impact. Add to that a bit of personal nostalgia for what the viewer can offer this type of film and you can end up with some great moments. I am somewhat upset that this film has NO scheduled release date for San Francisco, though, as I am very anxious to see it in a theater.
MiraJeff, I do appreciate you going, though, as I feel like that at least an AICNer got to see this and review it. I suspect I may like it more than you (let's hope I can find out!), though. :)
When I turned 40 I had a bit of a freakout and realized I had never been out of the US. So, that week, after my 40th birthday, I planned my first trip to Europe. As much as I wanted to avoid the cliches of a first American's trip to Europe, I felt that I couldn't skip Paris, and I am glad I didn't. Contrary to nearly everything I heard, Paris and the people there were just spectacular and friendly and made me want to go back. (For good measure, I went to Vienna as my 'not your standard destination for a first trip to Europe' and loved that city as well).
I don't mean to... go on and on here, but I do have an affection for meta meaning for film in my own life, and this movie is exactly the type of recursive experience I love. Two of my favorite moments in Paris were seeing American films with a Parisian audience (Kiss Kiss, Bang Bang months before it came out here, and Broken Flowers), so movies, Paris, excellent romantic trip with my wife and... well, I am a TOTAL sucker to go see this.
Thanks for the descriptions of each segment. Sorry it wasn't your cup of tea, but your attendance is greatly appreciated by the demon. -
So I did, and it's mostly boring. Who the hell wants to watch 18 shorts in a row? I'm happy to watch two or three in a row, but 18? Watch the best 5. I actually agree with the order here, more or less. Though I did like Doyle's more.
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Now that's one show I'd like to see!!!
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That's a great line - so no, you're not a complete schmuck.
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Is the rest of it. Damn talkback.
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I was lucky enough to catch this film about a week ago and, though shorts aren't usually my favorite, I really enjoyed it.
Well-written review and all, but maybe if you stopped checking your watch and paid attention to the events on screen you might have appreciated it a bit more.
I don't want to spoil anything here, but I think you completely missed what was going on in Cuaron's short. The thing actually ties together quite cleverly and makes a lot of sense if you listen to what's being said. The (dare I say) "cute" twist at the end even warrants a second viewing.
Also, I'm not sure the point of Loin Du 16eme was that "as babies, we're all equal, there is no class system." The point is that she sings a warm, loving lullabye to her child, but when she sings the exact same lullabye to the child she must babysit (the reason she must leave her child at daycare all day) the song seems cold and tuneless. That's what I got anyway.
Just opinions, though! Maybe I just got more out of it. (You really did miss the entire point of Cuaron's though. Fact.)
And I don't know how anyone isn't blown away by Alexander Payne's short, possibly one of the most beautifully bittersweet shorts I've ever seen. -
I too had some cool experiences with movies in France (Layer Cake in Paris, and Willy Wonka in Cannes, but not AT Cannes:), and though I felt lame for doing it at first, after 2 or 3 weeks of overpriced accomodations and stifling heat (it was July), it felt like a bargain to fork over 8 bucks for 2 hours of air-conditioned entertainment.
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Haven't seen the short film, so I'm not defending that, but I have to step in and say that the rest of the late-period Van Sant you seem to be dissing is pretty fucking awesome. I've got some problems with ELEPHANT, but LAST DAYS is remarkable and GERRY might be (IMHO) the best thing Van Sant's ever done. I love me some DRUGSTORE COWBOY and PRIVATE IDAHO, but I think his recent films are what make him one of our finest working filmmakers. I get that it's difficult stuff that has to be approached in a different way than one would approach a standard Hollywood film... but to say that 'not much happens' in LAST DAYS, for instance, is missing out on a hell of a lot.
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Gerard Depardieu become a notable film maker?!
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Last Days featured some good music, but I didn't like it as a movie. It was pretty boring. As for Elephant, I liked Elephant, I wasn't saying that was a bad film, just unconventional and a tad slow and brooding for my taste, but the real reason I don't think it holds up that well is because a few wks. earlier I saw Zero Day and that was way better than Elephant. IMDB it, Netflix it, you won't be sorry.
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Because I lked the trailed and the idea sounds interesting. I can do a lot worse than a romantic movie filmed in Paris.
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Hi MiraJeff. You might have indeed missed something with this short story, though it did take a bit of concentration and a couple of people I went with had missed it as well. At the start when we see Nick meet up with this girl, you get the impression that he is meeting up with an improbably young mistress, as she is always refering to someone which you assume is her boyfriend, who can be very demanding and jealous. At the end of the scene the girl they meet up with is a friend of hers, who has been minding a baby for her. It is then that you realise that the baby is the mysterious person that she had been talking about.
I quite liked it, but people are affected differently by different stories. For exampe, I thought the Natalie Portman short that you list at the top, was for me the worst. -
Nick Nolte is presented in a way that audiences are supposed to believe he is the secret lover of Sagnier, and that they're talking about her husband. Only in the last moment it is revealed that he is actually her dad and that they're talking about her baby.
Of course any moron gets the joke in the first few seconds - but hey, who would want to believe that Nolte is anyones secret lover? (On the other hand, in France that may be very well plausible...) -
Not only is you username hard to write and a total mystery to me, you were also faster than me when it came to correcting MiraJeff about Cuaron.
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I hadn't realised that Chook Chutney (good name, by the way) had already corrected Mirajeff, only he didn't want to post a spoiler up. I guess, we're not that as nice as he is, are we? ;-)
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Nice eh? http://tinyurl.com/yp6g84
Sexy? no? Lets try these - http://tinyurl.com/2bldjq No? Homo!
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They got to enjoy a trip to Paris on somebody else's dollar. It's not rocket science.
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There's an early line of dialogue that gives it away but I forget what it is and it's not in my notes. That's why I didn't see it as a twist, because I thought it was kind of obvious all along. It was kind of cute, in that the dialogue was full of innuendo, but I can't even remember what they were babbling about. And the end was kind of eh. I just didn't find it satisfying.
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some shorts are easily forgetable and some shorts made me move more than a 90 minute film. Some things are recognizable, some things are yet to come for us, and some are just about the weird things in paris. Wonderful, wonderful film.
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... it's either you love it or you hate it. I personally loved this film, although few segments seemed totally absurd, I got the feel that every director was writing us a love letter about Paris (the city, not the slut). And somehow, I feel that each of us would find ourselves in at least one of the segments.
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The concept is so awkward, and the execution so boring, clichéd, unimaginative and self indulgent (not to mention the overblown false sophistication) it was one of the most painful cinematic experience I had in 2006 (along with Mi3, for totally different reasons, minus the headache-inducing camerawork they have in common). 2 Hrs of product placement for uninformed foreigners who still believe in the "magic of Paris".
I can't believe how lazy AICN got when it comes to review foreign movies. You're SUPPOSED to have correspondents in Europe (Italy I think) who can come up with a review, or a DVD REVIEW (the movie is out on DVD since last year...) and when you decide to review something else than a H'wood blockbuster or a little indie from your favorite vacation spot, err I mean festival, it's always some shitty fuck movie like that. It gets depressing. -
i will see it for sure
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between an Algierian and a Riot Cop?
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Yes, but it's getting it's US screen release this week.
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Maybe four of the stories are decent and thats about it
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Deserves all the praise and fanboy love that people like Eli Roth get! I love his work. And when I rent the DVD I will watch his segment first!
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"...now she caters too much to her boyfriend's demands"
"...while Nolte keeps an eye on somebody's baby"
So you... you got it only after writing the review, then? -
I got the Cuaron segment and I love Cuaron but it was still a dull 7 minutes. This movie is perfect for home viewing. You can pick out your favorite shorts and then skip over the numerous other ones that are ok but entirelely forgettable.
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Clichés, unimaginative, you name it. How come these films still exist is beyond me. It's comic book France for god knows what kind of tourists. Paris is a city where the police arrest homeless illegal immigrants when the non governmental organizations who try to help them are distributing them food. Paris is a city where if you have a foreign sounding name (like mine), you can't rent a flat. Paris is a city where I won't wear a skirt if I know I will have to take the subway at night, just because I don't feel like being insulted by dozens of unemployed kids from the suburbs, with nothing to do but ventilate their frustration on women. France is poor. France is very much right wing, and horribly racist. Paris, Je T'aime? Yeah, right.
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but you just Cut&Pasted my previous comment, with an added social concern/Cameron-Diaz-in-Paris-subway rant. Nasty girl. Be sure to vote for Segolene tomorrow.
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"The greatest trick the devil ever pulled was convincing the world he didn't exist", as a script writer Van Sant is indeed the devil. Maybe i don't get the 'deeper meaning' but his films are so fucking boring why the hell would i care to think about them on any other level when my eyes are trying desperately to close?! Aside from drugstore cowboy, which was an awesome film, the rest are shit, the biggest misuse of film since Warhol's Empire State movie, and at least Warhol had the good sense to chew through the restraints when someone tried to force him to watch that movie. As far as short film movies go, totally pointless but i think it's already been established that we want to skip the shit shorts and find the good ones annoyingly too short, so I guess ultimately they're pretty lame. Rant over.
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any rebuttal, Mirajeff?
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Now that´s a beauty Portman wishes she was.
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What's wrong with short films Jeff? Do you hate short stories too? I would have thought it obvious that it's a test of a director's skill as well as a writers' to tell a story in less than 10 mins.
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and if it has to be explained to you MiraJeff, well then you'll never get it. Pity, 'cause it really was quite profound.
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...was one of the most moving experiences I had in a cinema in the past 12 months. It was a quite perfect bittersweet examination of loneliness. The other shorts were a mixed bag. I kinda liked the Coen Bros' Tuileries, but nit as much as I had thought I would. Tykwers short was awful in my opinion, as were Doyle's and Van Sant's. But the simplicity of the Wes Craven segment surprised me in a good way.
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