Paris, je t'aime

... for Paris is a moveable feast." Ernest Hemingway

It is impossible to count how many great talents have immortalized Paris in paintings, novels, songs, poems, short but unforgettable quotes, and yes - movies. The celebrated film director Max Ophüls said about Paris,

"It offered the shining wet boulevards under the street lights, breakfast in Montmartre with cognac in your glass, coffee and lukewarm brioche, gigolos and prostitutes at night. Everyone in the world has two fatherlands: his own and Paris."

Paris is always associated with love and romance, and "Paris, Je T'Aime" which is subtitled "Petite romances," is a collection of short films, often sketches from 18 talented directors from all over the world. In each, we become familiar with one of the City of Light 20 arrondissements and with the Parisians of all ages, genders, colors, and backgrounds who all deal in love in its many variations and stages. In some of the "petite romances" we are the witnesses of the unexpected encounters of the strangers that lead to instant interest, closeness, and perhaps relationship: like for Podalydès and Florence Muller in the street of Montmartre in the opening film or for Cyril Descours and Leïla Bekhti as a white boy and a Muslim girl whose cross-cultural romance directed by Gurinder Chadha begins on Quais de Seine. I would include into this category the humorous short film by Gus Van Sant. In "Le Marais" one boy pours his heart out to another boy confessing of sudden unexpected closeness, asking permission to call - never realizing that the object of his interest does not understand French.

Some of the vignettes are poignant and even dark. In Walter Salles and Daniela Thomas' Loin du 16ème, Catalina Sandino Mareno (amazing Oscar nominated debut for Maria full of Grace) is single, working-class mother who has to work as a nanny in a wealthy neighborhood to pay for daycare where she drops her baby every morning before she goes to work. One of most memorable and truly heartbreaking films is "Place des Fêtes" by Oliver Schmitz. Aïssa Maïga and Seydou Boro co-star as two young people for who love could have happened. There were the promises of it but it was cut short due to hatred and intolerance that are present everywhere, and the City of Love and Light is no exception. Another one that really got to me was "Bastille", written and directed by Isabel Coixet, starring Sergio Castellitto, Miranda Richardson, and Leonor Watling. Castellitto has fallen out of love with his wife, Richardson but when he is ready to leave with the beautiful mistress, the devastating news from his wife's doctor arrives...

I can go on reflecting on all 18 small gems. I like some of them very much. The others felt weak and perhaps will be forgotten soon but overall, I am very glad that I bought the DVD and I know that I will return to my favorite films again and again. They are "Place des Fêtes" that I've mentioned already, "Père-Lachaise" directed by Wes Craven that involves the ghost of one of the wittiest and cleverest men ever, Oscar Wilde (Alexander Payne, the director of "Sideways") who would save one troubled relationship. Payne also directed "14th Arrondissement" in which a lonely middle-aged post-worker from Denver, CO explores the city on her own providing the voice over in French with the heavy accent. Payne's entry is one of the most moving and along with hilarious "Tuileries" by Joel and Ethan Coen with (who else? :)) Steve Buschemi is my absolute favorite. In both shorts, American tourists sit on the benches (Margo in the park, and Steve in Paris Metro after visiting Louvers) observing the life around them with the different results. While Margo may say, "My feeling's sad and light; my sorrow is bright..." Steve's character will find out that sometimes, even the most comprehensive and useful tourist guide would not help a tourist avoiding doing the wrong things in a foreign country.

I was lucky enough to attend a screening in Stockholm for this elegantly expressed, enjoyable, and thought-provoking film. With romance as the heaviest weapon in its arsenal, Paris je t'aime boldly plunges into love in Paris, navigating the different forms in eighteen separate "quartiers" but without pouting Parisiennes and saccharine formulas. Its goldmine undoubtedly stems from frustration on the directors' parts – frustration over only having 5-10 minutes of screen time – thereby you are only presented with the best and most assured direction from each party.

Debating whether or not I should review all 18 segments, I reached the conclusion that it would be merely redundant and long-winded. Instead simply rest assured that each director graces the film with their eccentric styles and skills, and certainly you'll find your favourite. Although Gus Van Sant cannot resist the temptation to be introspective, his LES MARAIS is one of the better contributions, even sneaking in a well-placed Kurt Cobain reference. The Coen brothers recreate one of the more accessible segments in Paris, a scene with a muted but emotionally transparent Steve Buscemi, deadpan humour and clever camera angles that surely generated the most laughter in my theatre, and perhaps rightly so.

In this way, all story lines are exquisitely unique – filtered through the minds of different directors – but the one that deviates the most from the rest is Vincenzo Natali's QUARTIER DE LA MADELEINE, a dark horror-Gothic love starring Elijah Wood as a lost tourist in the backstreets of Paris in the night who meets a vampiress. With a black-and-white format but blood-red colour contrast that seems to incongruously bleed off screen, it nearly becomes a pastiche of Sin City – a refreshing eerie and visual turn in an otherwise fairly grounded film.

Yet my single favourite segment was FAUBOURG SAINT-DENIS by Tom Tykwer but I think I was conditioned to think so, given that I went in the theatre with him as my favourite and nudged my friend in the side saying "finally, that's my favourite director here". Nevertheless, it cannot be denied that Tykwer delivers a lovely segment in which a blind boy picks up the phone, and hears from his girlfriend (Portman - for once not annoying) that she breaks up with him, and he reflects on their relationship. As is Tywker's style, the story is dizzyingly fast-paced, kinetic and repetitive, featuring screaming and running (Lola Rennt) making it the most adrenaline-pumping segment in Paris je t'aime and possibly also the most touching once Tywker starts wielding his most powerful tool – music.

To fill the negative account, clearly not all directors manage as touching as Tywker, Van Sant, Cohens, Coixet and Dépardieu. Sylvain Chomet scrapes the bottom of the pile by carving out a truly disposable segment in which a little boy retells the story of how his parents met. They are two lonely mimes. This part is so in-your-face French and desperately quirky that it is insulting to international viewers. Suwa also directs a poor and fluffy segment with an unusually haggard-looking Juliette Binoche whom mourns the loss of her son. Nothing else happens. Finally, the wrap-up and interweaving of the 18 stories in the end feels somewhat rushed and half-hearted.

Yet Paris je t'aime truly spoils you with quality, for all the other stories are well-crafted with crisp acting and amusing writing. It is certainly one of the highlights of 2006 (not saying much, I suppose) and a very personal film in the sense that it is unavoidable to pick a favourite and a least favourite. Highly recommended both to mainstream of "pretentious" (heh) audiences.

8 out 10

Greetings again from the darkness. 18 directors of 18 seemingly unrelated vignettes about love in the city of lights. A very unusual format that takes a couple of segments to adjust to as a viewer. We are so accustomed to character development over a 2 hour movie, it is a bit disarming for that to occur in an 8 minute segment.

The idea is 18 love/relationship stories in 18 different neighborhoods of this magnificent city. Of course, some stand up better than others and some go for comedy, while others focus on dramatic emotion. Some very known directors are involved, including: The Coen Brothers, Wes Craven, Alfonso Cuaron, Alexander Payne, Gus Van Sant and Gurinda Chadha. Many familiar faces make appearances as well: Steve Buscemi, Barbet Schroeder, Catalina Sandino Moreno, Ben Gazzara, Gena Rowlands, Gerard Depardieu, Juliette Binoche, Willem Dafoe, Nick Nolte, Maggie Gyllenhaal, Marianne Faithful, and Bob Hoskins.

One of the best segments involves a mime, and then another mime and the nerdy, yet happy young son of the two mimes. Also playing key roles are a red trench coat, cancer, divorce, sexual fantasy, the death of a child and many other topics. Don't miss Alexander Payne (director of "Sideways") as Oscar Wilde.

The diversity of the segments make this interesting to watch, but as a film, it cannot be termed great. Still it is very watchable and a nice change of pace for the frequent movie goer.

Sadly, this is an awful grab bag of mostly trivial stories. Certainly it is ambitious and interesting as a concept, and Paris looks beautiful, but the producers didn't rein in the directors and what appears winning in theory becomes a lazy mishmash in execution. Each director was given five minutes of screen time and two days to shoot their film. Almost all of the directors figured they could dispense with writers and do it themselves. A bit of ego, a bit of film school, and a misunderstanding that even five minutes of screen time requires a writer's hand, especially so since the short time frame demands concise story telling skills.

Indeed, some of these film makers, e.g. Christopher Doyle, have barely sat in a director's chair, much less be worth trumpeting as members of an extraordinary group of visionaries. And the concept involves love stories and the love for Paris. What connection is there with this concept and the filmography of Joel and Ethan Coen? In fact the heavy American and British presence seems more mercenary than visionary from the producing end of things. Ben Gazzara and Gena Rowlands playing two Americans finalizing their divorce in a restaurant could have been filmed in New York or Chicago and shipped over to France for attachment to the movie. Worse, this episode relegates a giant of French cinema, Gerard Depardieu, to the minuscule part of the restaurant owner. There's nothing wrong with having some stories about tourists and expatriates, but this collection relies far too much on it. The bulk of the Parisians in this film are relegated to background chatter and bit parts. Surprisingly, even the city is relegated to background fodder. It appears that almost none of the film makers have any sense of Paris, or what to do with it given the opportunity to make a small film there. Many take place in nondescript indoor locations, or in the case of the Elijah Wood episode, a meaningless dark street straight out of 'Sin City.' Story wise, this is a director's film. Therefore the writing is weak and in some cases almost non-existent. In the case of Cuaron's episode with Nick Nolte, even the direction is non-existent (almost entirely a long shot track of Nolte yakking away to his nubile daughter as they walk down a street -- once again, a heavy American element with no trace of Paris except some dialogue). Some of the vignettes have "punchlines", while others merely fade away or end pointless and lost. The two most "commercial" feature Steve Buscemi in a cartoonish skit in a Metro station, and an absurd tryst between Elijah Wood and a vampiress. Both stand out but for the wrong reasons. Buscemi is forced to say nothing throughout his episode, and to behave like a punching bag for no reason. At least it IS snappily directed, and makes its point and ends with an exclamation. But it's also more clichéd American-in-Paris tourism. The Wood vampiress story not only doesn't belong in this film, it is also extremely predictable as a vampire sketch.

Many of the other stories seem either a small part of a bigger film, or a made-up hodgepodge to fill five minutes. To each his own as to the merits of the results. Certainly this smörgåsbord provides enough promise in its theme to delight those who think they're getting a taste of Paris along with humanistic stories (rather than the usual gangster, spy, or sleaze films using the city for its location). But I think the producers should have demanded that the directors adhere to the concept rather than allow them free rein to indulge in half-thought out skits that have only an arbitrary connection to the locations of the title city.

Wasn't sure what to expect from this movie considering its amazing collection of stars and directors but in the end it didn't disappoint.

For me one of the highlights was the final episode with the American tourist speaking with a dreadful French accent (which made me feel better about mine) which was actually quite touching and a great way to wrap up the movie.

The story of the paramedic and the stabbing victim was also very moving and for pure comedy the Coen Brothers and Steve Buscemi take the award. The Tom Tykwer clip was also impressive although rather ambitious in its scope.

However, the Bob Hoskins segment was totally cringeworthy and the vampire story was completely farcical. The dialogue in Wes Craven's section also felt very forced and the Chinatown story was completely incomprehensible.

On the whole this film is worth watching for the good bits and has a strong finish. It's not too painful to sit through the bad sections - they only last 5 minutes anyway.

Ca vaut la peine!!!