Wo in Paris die Sonne aufgeht

Serious vitality present in this piece probably just the lifeforce of the sexual drive of mankind

Those millennials here live in a very bleak world ruled by necessity survival greed selfishness in a way which previous generations can only gawp at in disbelief

It can be best summarized in the question "Is this what it has come to?" The answer is seemingly yes

Relationships are commercial transaction or shadows of that; an ersatz for human interraction; what did we seriously expect after 40 years of Neoliberalism? A more caring way of relating .... these are folks who know nothing but precariousness of work and relationships; a subtle urban brutality is written in their daily wherever they look add to that the digital alienation which is the wallpaper and in some ways the blueprint of their lives .... nothing else could have come out of all this

It is a beautiful depiction of this milieu this section of the population; the 13th Arrondissement of Paris looks more like Saõ Paulo or Shanghai than it does Paris

The truly bilingual and bicultural reality of the main character here Émilie is awesome to watch the switching between the 2 worlds between Voltaire and Kong Fu Tzu without even a blink. All the actors here are excellent and Audiart the son has produced yet another minor masterpiece like The Prophet he made a few years back. Here it is a Parisian Love story for the 21st century.

What you see in a black and white frame are three women and a man, sex, sexuality,. I guess I'll have to work harder to understand it. It doesn't seem to be telling me anything. I read the reviews. I know it's an award-winner. I guess it doesn't speak to me.

At first, I thought it was going to be a threesome movie like "LOVE" I was wrong, but it felt good. I liked it. I think it was better than Hollywood melodramas!

I liked the way it was made. B&W shots, simple soundtracks, and the storyline.

Greetings again from the darkness. Jacques Audiard is one of the filmmakers who has won my cinematic loyalty through his consistently thought-provoking and entertaining films. His five features since 2005 have all been excellent: THE BEAT THAT MY HEART SKIPPED (2005), A PROPHET (2009), RUST AND BONE (2012), DEEPHAN (2015), THE SISTERS BROTHERS (2018). This latest is a different kind of story for Audiard, and it's based on the stories from animator Adrian Tomine. Audiard adapted the screenplay with Nicholas Livecchi, Lea Mysius, and Celine Sciamma (writer and director of PORTRAIT OF A LADY ON FIRE, 2019). The result is a unique vision of modern-day love set in an area of Paris that is rarely featured in films.

Audiard gives us a REAR WINDOW-esque opening that lands on a couple evidently singing naked Karaoke. We are then informed, "It began like this." Emilie (newcomer Lucie Zhang) is a tele-salesperson augmenting her income by renting out a room in her apartment ... well, it's her grandmother's apartment, but she is confined to a nursing home suffering from Alzheimer's. Emilie wants a female roommate and Camile is the first to schedule a showing. Only Camile (Makita Samba) isn't female. Instead, he's a handsome teacher working on his doctorate, and since there is a spark between he and Emilie, she agrees to let him move in. The attraction plays out as you would imagine, right up until Camile slams on the brakes and informs a frustrated Emilie that he has no intention of being a couple, and soon invites another lady friend over for an evening of intimacy. The micro-aggressions between Emilie and Camile escalate, and soon he moves out.

Next we meet thirty-something Nora (Noemie Merlant, PORTRAIT OF A LADY ON FIRE) who is excited (almost giddy) to be headed back to law school. It doesn't take long for classmates to mistake her for a popular online sexy cam-girl named Amber Sweet. The mistaken identity and bullying cause Nora to drop out and return to her previous profession - real estate. It turns out the local office is being managed by Camile, who, disillusioned with teaching, is looking for a fresh start by helping out a friend. Nora sets the ground rules and the two maintain a professional relationship, right up to the point where they cross the line and become lovers.

Audiard shoots most of the film in black and white, which gives it the timeless feel of so many French romantic dramas over the years. The difference here stems from the sexual dynamics and interconnected stories and characters all within Paris' 13th arrondissement. One of the terrific storylines has Nora cultivating a chat relationship with the same Amber Sweet (Jehnny Beth of the English rock band Savages) she was mistaken for. Personal grief plays a role with two of the main characters, while a dark family secret burdens another. This emphasizes how we each carry the past and it sticks with us regardless of the path we choose. The film also reinforces how there are invariably contradictions in how we see ourselves and our actual behavior. These characters may engage in casual sex, though by the end, it's clear each wants more than they are willing to admit. Things wrap up pretty neatly in the end, but the road travelled is a bit rocky.

I was very disappointed with this movie. I like Audiard's work, he has made some excellent movies, and I was looking forward to watch this, but I found it empty, with all its supposed sexiness feeling quite shallow. The actors are ok, but their characters are superficial, and I couldn't care less of what happens to them. Even the black and white is not pretty. I think it was selected for Cannes 2021 only because of the reputation of Audiard.