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In PARIS, JE T'AIME, celebrated directors from around the world, including the Coen Brothers, Gus Van Sant, Gurinder Chadha, Wes Craven, Walter Salles, Alexander Payne and Olivier Assayas, have come together to portray Paris in a way never before imagined. Made by a team of contributors as cosmopolitan as the city itself, this portrait of the city is as diverse as its creators' backgrounds and nationalities. With each director telling the story of an unusual encounter in oe of the city's neighborhoods, the vignettes go beyond the 'postcard' view of Paris to portray aspects of the city rarely seen on the big screen. Racial tensions stand next to paranoid visions of the city seen from the perspective of an American tourist. A young foreign worker moves from her own domestic situation into her employer's bourgeois environs. An American starlet finds escape as she is shooting a movie. A man is torn between his wife and his lover. A young man working in a print shop sees and desires another young man. A father grapples with his complex relationship with his daughter. A couple tries to add spice to their sex life. These are but a few of the witty and serendipitous narratives that make up PARIS, JE T'AIME. (official distributor synopsis)
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Reviews (9)
The first film that dared to present a great world metropolis in the form of stories. Some of them still come to my mind, while others I have successfully forgotten. Nevertheless, the film remains a wonderful mosaic of how Paris looks from the perspective of many filmmakers. I should watch more "I Love You" films to find out how they measure up in terms of quality. You can't expect every story to be a masterpiece, but in this case, quality definitely prevails.
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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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A film filled to the brim with my most beloved city and full of different approaches to love, romance, and particularly Paris. And it is precisely in the alternating styles and moods that the greatest weakness and strength of this work lies. While I shook my head at Doyle's patchwork or at why 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 Chadha's romantic bonding, the perfectly fitting dark humor of the Coen brothers, the heartrending sincerity of Nobuhira Suwa, and the perfect Juliette Binoche, the fascinating outer-worldly imagination of Chomet, and Tykwer's visual study of love, relationships, differences, and problems. Some pieces of this bonbon did not taste good to me, 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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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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