DANS PARIS
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DANS PARIS does have a certain air of pretension...that much is certain. It feels at times a bit prose-like and self-conscious, but I urge any viewer to sift through that mixture because you will be rewarded by a genuinely good film, brimming with peculiar intimate character interactions, and a kind of sad humor.DANS PARIS is essentially an interlaced flashback concerning the degradation of a relationship between Paul (Duris) and Anna (Preiss). Anna has just left Paul who, annihilated by the separation, moves back with his father in Paris. His younger brother Jonathan, a casual student, still lives in his father's apartment and spends most of his time womanizing and fooling around. Honore's film becomes a meditation on how people choose to suffer, how others choose to allow or challenge our model of suffering, the inevitability and incongruity of healing despite our best efforts to wallow, and is none the less a compelling structural exercise.
DANS PARIS, the fifth film in as many years by writer/director Christophe Honore (Ma Mere), is through and through a constant collapsing and building of the fourth wall, both attitudinally and structurally. It is at once a Brechtian display of self-awareness and reflexion (Jonathon talking to the audience), and with its counter cannon of bare intimacy (insular moments between quarrelling lovers, Paul singing along to music in his underwear) it is a film that is equally, if not more so, a work of inclusion.
And for anyone who appreciates classic french cinema, DANS PARIS will be an alternately melancholic and delightful love letter to the French New Wave...and I mean in spades!
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