Résumés(1)
Paris, je t’aime explore la pluralité du Septième Art au sein de la ville mythique de Paris… 24 cinéastes internationaux se sont vus offrir l’opportunité de donner leur propre regard sur la capitale. Cinq minutes de liberté, sur chaque arrondissement de Paris, autour d’un thème universel : l’Amour. (texte officiel du distributeur)
Critiques (11)
I don’t think it would be right to call this a film. It was more of a collection of shorts on the same theme, and I didn’t exactly fit the target audience, I’m afraid. Most of the shorts didn't really appeal to me and I even found some of them boring. There were a few exceptions (namely four) that resonated with me. Oddly enough, they were those I would least expect to relate to. I should also point out that while I strongly disagree with the Russian invasion of Ukraine, I'm not going to change my opinion of Olga Kurylenko's acting skills. I haven't become a fan of hers, thus clearly demonstrating my boorishness and inability to recognize real art even if it spat in my face. I guess that's just the way I am. / Lesson learned: Feel like hanging out with famous artists in the quiet of a cemetery? Go to Paris.
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« Paris, je t’aime » est une phrase que je pourrais déclamer tous les jours, donc c’est avec beaucoup d'enthousiasme que je me suis jeté sur cet hommage fait par des réalisateurs célèbres à la métropole française. Mais, à mesure que le temps s’écoulait et au fil des différents sketches, mon visage grimaçait de plus en plus. C’est que la magie et l’ambiance parisiennes se perdent complètement, à tel point que certains sketches pourraient très bien avoir été tournés à Brno, à Znaïm ou encore dans n’importe quel village du sud de la Tchéquie. On dirait qu’Alfonso Cuarón n’a jamais mis les pieds dans le parc Monceau ; son histoire était à pleurer et je m’étonne que Ludivine Sagnier y ait participé. C’est Tom Tykwer qui sauve la mise avec un sketch qui me semble être le seul qui appartienne et corresponde à l’univers parisien – un sketch que j’ai regardé à trois reprises. Les frères Coen ne s’en sont pas mal tirés non plus et, ironiquement, leur histoire outrageuse pourrait se passer dans la vie réelle. Il manque quand même quelques grandes pointures françaises comme Béart, Auteuil, Darrieux ou Deneuve. « New York, je t’aime » doit absolument être filmé par Woody Allen, sinon le résultat sera aussi pitoyable qu’avec Paris. À seconde réflexion, je mets une étoile de plus pour Tom Tykwer qui la mérite vraiment.
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A very pleasant experience, tuned especially to the wave of relaxed melancholy and love tremors. If I set aside Doyle's truly stupid and inconsistent Porte de Choisy and the situation when the authors confused the short with a cheap kitschy agitation (especially Quais de Seine), here we have the same more or less high-quality and interesting little stories, from which the charming Sylvain Chomet stands out (this is what individuality should look like on the screen for a few minutes) and Payne’s fantastic short, which tells more about Paris through the eyes of a foreigner than most previous short stories combined. Personally, I was also very pleased with Natali's vampire nonesense, the Coens' traditional entertainment show with "donny" Buscemi, minimalist suggestive Loin de 16éme and the excellent craftsmanship (albeit a little weaker in terms of content) of Tykwer and Cuarón.
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Eighteen Parisian districts plus twenty-two directors equal eighteen "Parisian" views of love in blossom, in decline, beyond its zenith, love non-existent, love wanted, love towards the family, and many of its other facets. Undoubtedly an interesting project, but given the abundance of short stories, it is clear that the quality cannot be constant. So it was a pleasant surprise that none of the stories are downright bad. On the other hand, it is unpleasantly surprising that with such a cadence of sonorous well-known names, only a few stories are at all exceptional, especially in the first half. Most of them have something going for them, but only a few of them will stay with you after the movie is over. That is, about how each situation began or continued. I would point out Sylvain Chomet, whose contribution is definitely one of the best, but even so, the non-animated form unnecessarily hinders him in his flight. I would also point out the highlight of the entire film in the form of a short story by Tom Tykwer. If only for this piece, the movie is worth seeing. Paris, I Love You was supposed to be an emotionally powerful experience as a whole. Which it isn’t, except for two or three moments, but it doesn't necessarily mean it's a bad or mediocre movie. Perhaps because everyone will surely find their own segment that appeals to them.
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A film filled to the brim with my most beloved city and full of different approaches to love, romance, and especially Paris. And it is precisely in the alternating styles and moods that the film has both its greatest strength and its greatest weakness. While I was shaking my head at Christopher Doyle's patchwork or at why Alfonso Cuarón's piece is only interesting because it is shot in one continuous take, others would not stomach what I consider the best stories. The tenderness and cuteness of Gurinder Chadha's romantic bonding, the perfectly fitting dark humor of Joel and Ethan Coen, the heartrending sincerity of Nobuhiro Suwa and the perfect Juliette Binoche, the fascinating outer-worldly imagination of Sylvain Chomet, and Tom Tykwer's visual study of love, relationships, differences, and problems. Some pieces of this bonbon did not suit my tastes, so the film as a whole will not receive the highest rating, but not only this group of names will remain in me forever. Beyond any assessable boundaries.
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I would rate the individual etudes differently. The absolute number one for me was Arrondissement 10, when the blind boy tells Natalie Portman: "I can see you". And I must also mention Arrondissement 7, Tour Eiffel, the boy with the big briefcase and his parents the mimes. Next, story number 7 appealed to me, which was about a man who wants to break up with his wife because of a young stewardess and the fact that the wife sings the same song over and over, wears the same clothes, has lipsticks she doesn't use, doesn't order appetizers and desserts, and ends up eating the husband's entire meal...and what's more, the husband is to the point where he even orders meals that the wife will like. But when his wife tells him she is sick, he doesn't break up with her and leaves the stewardess. He pretends to love his wife until he falls head over heels in love with her again... she dies and he is alone... On the other hand, I would leave out the soulless beginning, i.e. Arrondissement 18, which was rather awkward. The rest was average or above average... anyway I will think about it. Nice work.
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I did some rigorous math – an average – and I got what I gave it. I liked the 4th and 6th stories the least, the beginning was kind of weak in general, but then the mimes came in and it gave me hope for a better ending. After that, my enthusiasm cooled down – two stories that I would probably have given something like 2 stars. But the 12th story charmed me; and I'd give that one the highest rating on its own. And after that? Nothing came along that was worse than average, so the final level was very nice, orderly, melancholic. The last short story brings it to a beautiful close, just like the person at the center of the story, even I came away feeling it, and everything just clicked. It's definitely worth taking a tour of Paris – in both senses. It starts weak, but finishes with verve.
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In these types of anthology films, which are directed by several different directors, the most common problem is the different quality of individual stories. In the case of Paris, I Love You, this critical point is even stronger because there was a whole army of directors and the space for their expression was therefore very limited. Not everyone was able to create a meaningful story with a point in such a small space. Some creators did not offer the viewer more information about their characters than what they could learn from the presented photograph. Several of the stories were really nice, whether they were filmed anecdotes like vampire stories or the story of the unfortunate Steve Buscemi, who was properly tormented by his friend Joel Coen. The strength of the film is definitely the cast, which is luxurious, but it is a pity that the individual actors did not have the opportunity to show more in their performances. The only thing that connects this chaos of micro-stories is Paris, but even that does not play the main role because most of the stories could take place almost anywhere. Overall impression: 65%.
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These short story collages on the subject of capital cities are always problematic. After all, Paris after the year 2000 cannot be such a flat city of stories that fail to engage on their own and fit together as a whole. If I didn't take notes, after a few days I wouldn't even remember Tykwer's rather daring romance with Portman and the lovely ending of Payne, in which such a sweetly earthy American woman bade farewell to the city of all cities. Gérard Depardieu was a complete disappointment and what Natali made was absolute crap. 18 fragments are really too much for one film.
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The good thing about this film is that you (hopefully) can't say you didn't like the whole thing, but only certain stories. I found significant flaws in the first half, it picked up in the second half. The best stories were: the ones with Miranda Richardson, Juliette Binoche, the one with the Muslim woman and the one with the postwoman. On the other hand, the weakest were: with Steve Buscemi and Nick Nolte. As for the music and the beautiful setting of Paris, it was exquisite. Averaging it all out, I come up with about less than 70% (maybe I'll add more after another viewing).
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The first film to delve into presenting a major world metropolis through interconnected stories. I still remember some of them, while others I've successfully forgotten. Nevertheless, the film remains a beautiful mosaic of how Paris looks from the perspective of many filmmakers. I should check out some more I Love You movies to see where they stand qualitatively. You can't expect every story to be a masterpiece, but in this case, the quality definitely outweighs any shortcomings.
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Annonces