Wo in Paris die Sonne aufgeht

A call center representative, teacher, real estate agent, and online webcam model somehow find their lives coming together in the new Jacques Audiard film, "Paris 13th District" ("Les Olympiades").

Audiard has taken a special interest in the lives of resilient people set within his native country. The films "Dheepan" and "A Prophet '' don't showcase France at its best, instead, they shine a light on the many problems Audiard sees. After taking a detour into the English-language for the unfairly ignored "The Sisters Brothers'', Audiard (along with co-writer Céline Sciamma of "Portrait of a Lady on Fire'' fame) once again sets his sights on modern French society, this time through the gaze of not one, but four main characters.

Our protagonists (or antagonists depending on your viewpoint) all reside within the titular district of Paris, a highly populated sector known for its mixture of modern and traditional architecture. Émilie is a phone operator at a cell phone service call center who is stuck in a rut both professionally and romantically. She's a disappointment to her Taiwanese immigrant parents, who often call to tell her about her sister's experience as a doctor in England. Luckily, her romantic prospects improve by the arrival of Camille, a lonely school teacher who is inquiring about the vacant room in her apartment. Carnal feelings impulsively take over their relationship, something Émilie prefers as she lives by the motto "fuc* first, talk later."

At the same time, Nora is a real estate agent trying to reinvent herself by going back to school, despite being a dozen years older than her fellow students. Further compounding her misfit status is her striking resemblance to famous webcam model Amber Sweet. She soon receives the unwanted attention of lustful boys, forcing her to retreat from academic prospects. With morbid curiosity, Nora decides to meet her doppleganger and see if they share anything besides just looks.

Like Paul Thomas Anderson in "Magnolia" or Robert Altman in "Short Cuts", Audiard acts as a puppet master, crossing and pulling the strings of his characters. Being that there are only four main characters compared to dozens within Anderson and Altman's films, the interactions are more frequent. Audiard is interested in exploring the idea of opposites attracting, which brings out both the best and worst in each other.

These characters carry a lot of baggage with them, which often gets saddled onto their partner in an acrimonious fashion. Audiard and Sciamma take an authentic approach to these moments, with characters getting in heated arguments that sometimes lead to break-ups, and sometimes lead to sex. The film is quite sexually explicit, with each actor bearing it all for the black-and-white screen. Except for the exceptional Noémie Merlant, the cast consists of relative unknowns, a fact that never crossed my mind as they have the chops of veterans.

Speaking of black-and-white, the grainy cinematography by Paul Guillaume strips down the film to its rawest form. Like Sam Levinson's "Malcolm & Marie", the lack of color works to center our focus on the actors and their condensed surroundings.

While the beautiful cinematography could be guessed from still images, what is most surprising is the great electronic score by French musical artist Rone. Mixing pop beats with fluttery strings, the score embodies the clash between modernity and tradition that is present within the characters and the city itself.

Not without its problems, "Paris 13th District" often gets too attached to the trio of Émilie, Camille, and Nora, leaving Amber to a lower supporting status, despite her having the only sequence of the film shot in color. Frustratingly, Jehnny Beth's great work as the most interesting character isn't given the attention that most surely deserves.

As filled with millennial insight as it is filled with nudity, "Paris 13th District" is a lighter affair from the dependable Jacques Audiard. Barring a few small setbacks within the script, the film is an arthouse delight that will connect with younger viewers, possibly more than they want it to.

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.

The setting is Paris, 13th district. Youth culture. The fast life of millennials. Aspirations. Vanity. Egotistic admiration of one's idealised self-image and attributes. Sex. Love. Loneliness.

Written and directed by the veteran French filmmaker Jacques Audiard and shot predominantly in black-and-white monochrome, Les Olympiades, Paris 13e (2021) is adapted from three interweaving stories about sex and love by the American comic book artist Adrian Tomine.

The film is about the hope (and hopelessness) of being a millennial and trying to find your place in this fast-moving world.

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.

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.