Recuerdos de París

It's an enjoyable film, certainly worth the time. My major issue with it is that it's predictable. The lead reminds me of Jeff Bridges in Fearless and William Hurt in The Doctor. Both have traumatic experiences that make relationships with current lovers difficult if not impossible; a change of life is called for. That's what these films apparently require for plot, but is that true? Millions of men return from war to the same wives, jobs, lives. Other check boxes are ticked off: the co-survivors to whom the lead now more strongly relates; the initial accusation of guilt, later disspelled; the noble member(s) of the minority underclass that gets the lead all through it. For these requirements, sometimes the plot has phony constructs. Having said all that, the movie keeps you entertained, if it isn't really moving.

When unknown gunmen enter a Parisian restaurant and start shooting people that were enjoying their evening soirée, innocent lives are lost and the lives of those who survived are altered forever. Winocur's film portrays an already mundane fact of life, of armed terrorism that has entered the main stream of our lives, threatening to become an expected normal daily reality everywhere.

The survivors of the attack are seeking closure by gathering to commiserate and memorialize. After the traumatic event, Mia (Virginie Efira) is desperately searching for the cook who held her hand while they were hiding together during the shooting.

The search bears fruit and she eventually succeeds.

This movie shows very well what (I imagine) it happens after an event like the one from November 2015 in Paris: life just cannot be the same. Survivors are haunted by what they have experienced and they feel deeply connected to the other people that survived - many of whom feel the urge to revisit the bistro where this took place and make sense of what happened. This experience is so profound, intimate and shifting for someone that this basically creates a new family, of survivors, at the expense of the existing relationships.

The main character finds herself trying to remember what happened, partly because she is being accused of blocking herself in a toilet in the moment of the attack and denying a hiding place for the others, partly because she cannot find shelter in her former relationships (friends, lover) all of which don't seem to understand why she cannot move on.

Among trauma, PTSD (portrayed in a very compelling way) and her struggle to piece things together, we also discover hope and human connection, and this is one of those movies where suspension of disbelief works. At some point I was actually surprised to recognize an actor from other movies, it just didn't occur to me that I was not watching a piece of real life. Leaving cheesiness aside, I highly recommend this one.

A leaky pen. A notebook. A Birthday cake. A tattoo. Details. Some clear, others vague. Mia (Virgine Efira from Verhoeven's BENEDETTA) is a young Parisian woman in a stable relationship. One night, by happenstance, she finds herself in a restaurant. Out of nowhere, an armed assault. She's injured. Blacks out - but, survives.

Alice Wincoer's gently searing drama is loosely based on a coordinated 2015 terrorist attack on several sites in the Paris area (her brother was a survivor). Wincoer who co-wrote with a pair of screenwriters, always keeps the focus on Mia and the other survivors and their friends and families from that cafe. The terrorists are never clearly seen, nor are the other attacks explicitly spelled out.

Mia is more than merely shell-shocked. Her psychological wounds are more debilitating than her physical ones. Because she passed out, her memory of the event is scattered. The survivors form a support group and they help one another remember - if they choose to. Some want to reconnect, others recoil. Thomas (Benoit Magimel) was a man who's Birthday the cake was for. He is one of the 'lucky ones' in that he has full memory of that fateful night.

Wincoer (who wrote the screenplay for the wonderful Oscar nominated MUSTANG), does a fine job here inviting the viewer to piece together Mia's journey along with the character. The audience is never ahead of the woman, nor does the filmmaker rely on sensational dramatic turns to amp things up. It all unfolds at a placid pace. There are a couple of jolting jump cuts as if to remind one that such shocks could happen to anyone, anytime.

REVOIR PARIS doesn't have a pat ending. Mia and Thomas have their lives impacted, but they are all individuals and what may hold for one, may not for another. All that is certain is uncertainty, but there's also a kind of solace in living in the moment and embracing those around you while one can. REVOIR PARIS is one of the most moving movies of the year.

Or a tribute to the "before"and also the "after". This screenplay is brilliant, intelligent, the story of a young woman who survived after the killings in Paris of November 13th 2015. I am even surprised that it was not made before, since seven years now. Virginie Elfira is really a rising star for the French cinema. Her character survived the killings but can't remember what she actually did just before. Another survivor, whom she met on the memory settings of the events, accuses her to have run away in the women's room, to hide, whilst the other folks were slaughtered. So, our lead will try to excactly find out what happened. A typical French sensitive drama. I will remember this film, unlike the female character with her behavior before the killing. The only detail that bothered me is that it is again question of the migrant issue; a recurrent element in most of social French films. I am a bit tired about this. I understand that most directors want to speak about such a problem, but it annoys me. They absolutely want to be "fashion", see what I mean?