Tag Archives: French Cinema

Regarde les hommes tomber (1994)


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A very young Mathieu Kassovitz aside, there was so much argot it was hard to follow even with French subtitles. Also didn’t understand why Simon chose to kill Marx over Johnny.

Les quatre cents coups (1959)


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Even though it is a very accessible French New Wave film (admittedly there are quite a few that I either gave up watching or never got around to finishing), I don’t quite get why Les quatre cents coups is considered one of the best French films ever made. I do feel for Antoine who appeared to have been caught in a series of unfortunate events that spun wildly out of his control so my interest is now piqued to catch the other films in François Truffaut’s Antoine Doinel series. As usual, it’s been fascinating trying to recognize the Paris locations — I’d managed to identify Palais de Tokyo, Place de Clichy (Wepler !!), Montmarte and Pigalle. See here for a very detailed roundup of all the Paris locations in the film.

Juste la fin du monde (2016)


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I’d finally managed to watch this film (on the plane back to France) as I didn’t have the heart to drag the husband to the cinema for a film he wasn’t keen on. I’ll have to admit my interest was mostly superficial — in the all-star cast that I have a soft spot for, oh well, any reason is good enough a reason for watching one more French arthouse film. Decided against (reading) English subtitles and was glad I could reasonably follow what went on with French subtitles. It was frankly a little unsatisfying to see the film end as abruptly as it did though, almost anti-climatic following the melodramatic intensity of the build-up.

Love (2015)

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Chanced upon Gaspar Noé’s Love last night when I was searching for a film to watch over solitary dinner. Could say it’s a total departure from the last film of his that I’ve watched — and then not exactly so. Strobe lights again but with Wes Anderson-style framing, colors and captions.

Read somewhere that Noé had said how this everyday violence in sexual gratification-addiction is more pervasive and real than the type of violence he had portrayed in his other films. For the most part Love is sexually-explicit (visually arresting AF but thankfully not in 3D) with an attempt at a Before Sunrise-type discussion towards the end of the film about (what else but) love in every indie director’s favorite park in Paris — the parc des Buttes-Chaumont.

Think I also spied scenes shot in the cimetière du Père Lachaise and then maybe along a stretch below the elevated viaduct of métro line 2 in the 18th arrondissement on boulevard de la Chapelle just opposite the hôpital Lariboisière (looks too grimey to be line 6).

The dialogue in addition to Murphy’s whispery soliloquy which dominated the film could have been better and more polished. For those who find it charming, there’s lots of English spoken with a French accent (watch out for the bizarre bit with French cops dishing out relationship advice).

Irréversible (2002)

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Bit of east Paris cameo there with a scene in the 7bis métro line (Buttes Chaumont to Pré Saint-Gervais) but I’m pretty sure this is not what people look for when they want to watch a French film set in Paris. You’ve got Zazie dans le métro (1960) and Le Fabuleux Destin d’Amélie Poulain (2001) for that. Not a film for the faint-hearted either since not everyone could stomach the New French Extremity genre. It’s definitely one of the most intense and brutal films I’ve watched in recent years, progressing from dark destructive vengeance to the relative calm of bliss and happiness but unfortunately, as the narrative is in reverse chronological order, it ends up being bittersweet instead. The only consolation: le temps détruit tout indeed.

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