Cosmos

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.

This movie is a perfect example of the use of film as an artistic expression. It is different, and should thus be seen with an open-mind. There are different writers/directors for different part of the film and I must say that some are better than others (If they were all at the same level, it would easily receive a 10/10). The pace is generally slow, but appropriate silences and the singular contribution of black & white color (or lack thereof) assure that you pay attention to what's going on. One director experiments with unusual camera angles quite successfully. The dialogue in every piece is spectacular, giving both a realistic portrayal of characters and a very intelligent analysis of society. The storytelling aspect is somewhat inferior, but this can be expected with the miss-match of barely related stories. Plus it makes up more than enough in content. The acting is generally good, but I must point out the delightful performance of Marc Jeanty, who makes the perky ending of the movie worth the wait.

The stories are simple in themselves, but explore in depth vital aspects of contemporary humanity. The tone is nonchalant, but the underlining reflections are quite a propos. There may sometimes seem to be no links between the stories, but that may very well be the point. Everyone lives their lives independently, and only rarely are paths crossed...

This movie will by-in-large make you think, make you appreciate something artistically different, and even make you laugh whole-heartedly in this well orchestrated symbiosis of ideas.

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.

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.

. .

. 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.

. .

. 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.

I enjoyed this joint effort mainly because of the work of Denis Villeneuve and André Turpin.

For a 1996 movie, Villeneuve's take on so-called underground cybernetic culture is quite insightful and at the same time, light and funny. Convincefully played by David Lahaye.

André Turpin's short, "Jules & Fanny", is thoroughly funny and original. It showcases two persons whose on-screen personalities have nothing spectacular (Jules is a rather small guy, Fanny is a typical woman next door) and yet in a short time we are brought to be fascinated by their personalities. This was before "Matroni & Moi" and "Bureaux", so we weren't quite as fed up with Martin's obsession with the death of god yet.

Turpin's camera work also holds the film together. Otherwise, Manon Briand segment is extremely predictable, not to say boring (let me guess.. it's about someone who happens to be gay), M-J Dallaire's short is amateurish and completely lacking in substance, Jennifer Alleyn's effort is a tribute to her own personal nostalgia with French Theatre of the 1950s, while Paragamian's finale is just not very entertaining.

I'd give it a 9 if it were for VIlleneuve's and Turpin's segments alone.