Cosmos

"Cosmos" is one of the rare anthology films where its composite nature strengthens, rather than detracts from, its cohesion and identity as an artistic work. Six stories are presented, all happening in Montreal but otherwise seemingly unrelated. In each story is an appearance by the cab driver Cosmos, and there are occasional glimpses of other stories' characters, providing a framework to bind them together. But each story also deals with themes of separation or disjointedness; either from society, loved ones, or within the characters themselves. There are also chance meetings and coincidences that occur throughout, bringing unlikely combinations of people together. The characters, like the six stories, are distinct and separate but also tenuously and unmistakably linked.

"Cosmos" is a film of great humour, pathos, poignancy, wit, even zany slapstick. I have seen precious few films like this one and recommend it heartily.

This being my second, more in depth, review of this film, I decided to break it down by director (and oftentimes also writer). Although the segments are not all clearly cut from one and other (some segments are separated and shown intermingled with others, editing-wise), they can be distinguished by the different characters and storyline.

Before I break it down however, I have to say that besides being the most prolific writer/director of the bunch, André Turpin was also the cinematographer for the whole movie and did a magnificent job with his black and white canvas.

1. Manon Briand (segment "Boost")

Containing probably the best line of the movie (Cars are like women: yesterday "yes", today "no"), this segment is rather dry, long and seems to go nowhere, which is actually where it ends up going. Forgettable, or worst yet, useless but stuck in your head. Disappointing, especially compared to Briand's very good later work ("2 secondes" and "La Turbulence des fluides")

2. Marie-Julie Dallaire (segment "L'individu")

Good use of camera. Slightly intriguing. Vague and elusive. No real conclusion. Not much dialogue. Open and may lead to some reflections. Imagery is once again the best part (André Turpin).

3. Denis Villeneuve (segment "Le Technétium")

Different. Shows that substance is gradually losing to appearance. Interesting look at modern life, arts, the underground circuits, the craze of Internet, fashion and the medias. Good acting by David La Haye.

4. André Turpin (segment "Jules & Fanny")

Best segment. Interesting situation and twists. Best dialogue. Look on modern life, morality, sex, fake breasts and old relationships. Simple, but very effective. Great use of tension/anticipation. Superb acting. Intense.

5. Jennifer Alleyn (segment "Aurore & Crépuscule")

Younger girl and older man. Innocent. Cute. The pool scene could have been cut out, but that's about it.

6. Arto Paragamian (segment "Cosmos & Agriculture")

Funny. Weird. Funny. Slightly philosophical.



All in all remember that a lot is said in this movie and there are many messages to take home and other points to start pondering. Long at parts, but ultimately satisfying.

Not all segments are at the same quality, but there's a simplistic beauty to how each story blends together. A mix of genres that present a character study in an interesting way with good camerawork, use of black & white, & solid tone.

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. Not all segments are at the same quality, but there's a simplistic beauty to how each story blends together. A mix of genres that present a character study in an interesting way with good camerawork, use of black & white, & solid tone.

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. Not all segments are at the same quality, but there's a simplistic beauty to how each story blends together. A mix of genres that present a character study in an interesting way with good camerawork, use of black & white, & solid tone.

COSMOS is the prototype of an art-house film. Cerebral, full of nuances, this Canadian film (in Quebecois with English subtitles) shows us bits of Montreal's "cosmos". Developed through sixsomewhat related vignettes, four of them involve a Greek taxi driver (apparently inspiring the film's title). The beautiful black and white cinematography sets just the right tone for these slice of life depictions. I definitely recommended it for "art-house cinema" aficionados.

The idea of having 6 directors create 6 miniature stories in a common setting is a fun and creative idea for a film. The only problem being that the viewers are probably going to have different reactions to each story and the limited time the directors had to flush out their stories makes it questionable how much replayability there is for the film.

Personally I enjoyed Dallaire's and Alleyn's pieces the most. The main issue I have is that the stories are tonally inconsistent. Half of the stories are more serious and somber and the other half are more absurdist and wacky. I found myself only really engaged for the more serious half.

The movie is a grab bag of subplots and most viewers will enjoy a couple a lot and the won't likely be bored with the rest.