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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 (10)
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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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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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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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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