Revoir Paris

I knew it was to be considered an arthouse film and that there was to be some violent attack within Paris. It was good that I was not told too much because I would not really have wanted to see that terrible attack in November 2015. It is and it isn't but is amazing and one of my best films for some time. At the very beginning there is a slow zoom from within a room looking out through the curtains and beyond the balcony. As the shot is held and there is a lovely view of Paris although it is not one that I recognise or identify. This surprisingly, unspectacular zoom reminded me of the long one at the end of Antonioni's, The Passenger (1975) dialogue is splendid the memory plays with us and so unsettling that it gives me the shivers. Obviously we have the appalling and sickening moment but it is later on that Mia (Virginie Efira) remembers little bits now and again and it is thrilling but worrying all the time. It is not usually the Paris we know but the bustling streets and noisy traffic and the thrill of the action more of Mia and her uncovering what and who she has to find. Clever and intelligent piece quite remarkable and I want to watch it again, after a little while.

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?

Powerful and unforgettable 'Revoir Paris' is my new favourite film of all time, and the best I've ever seen made. It's a hard watch but it resonated way beyond its horrific subject. Virginie Efira's devastating and haunting César-winning performance carries the film, in every scene piecing memories together of the Paris Attacks interjected with real memories . It's beyond profound. This could be any of us. How life can change in a flash, and never be the same again. The kindness of strangers is so important. 'Thank you for letting me hold your hand' - we all need to do that. It's an incredibly intense watch but worth every second of your time. I hope internationally this film gets the recognition it deserves.

In the aftermath of a horrific terrorist attack on a Parisian bistro, Mia, a survivor, grapples with the devastating impact of the tragedy. While attempting to piece together the events of that fateful night and making amends with the city she once adored, she sets out on a mission to reclaim her life. Alice Winocour's moving and thought-provoking film explores the psychological effects of trauma and the enduring power of the human spirit.

Virginie Efira, fast becoming one of my favourite French actors, delivers a compelling performance as Mia, her expressive eyes and subtle gestures conveying the profound emotional turmoil she faces. The film's narrative unfolds with a quiet intensity, mirroring the protagonist's fragmented memories and the lingering trauma that binds her to the past.

The subtle yet effective direction of Winocour puts the characters and their feelings front and centre. The film's cinematography, characterised by soft, diffused lighting and a muted colour palette, creates an atmosphere of melancholic beauty, capturing the haunting essence of Mia's fractured world. With its delicate and melancholy melodies, the film's score by Régoire Hetzel enhances the story. The music subtly underscores Mia's emotional journey, adding depth and resonance to her silent struggles.

While Paris Memories excels in its portrayal of trauma and the healing process, it occasionally falters in its pacing and narrative structure. Certain scenes feel meandering, and the film's conclusion could have benefited from a more impactful resolution. The film's strengths, particularly its sensitive handling of delicate subject matter and its nuanced performances, overshadow these flaws.

Paris Memories is a poignant and thought-provoking exploration of trauma, resilience, and the enduring power of human connection. It is a film that lingered in my mind long after the credits rolled, prompting me to reflect on the fragility of life and the strength we find within ourselves to overcome adversity.

Paris Memories is a powerful cinematic experience that, with its sensitive portrayal of trauma, its engaging performances, and its evocative cinematography, makes it a worthwhile watch for those seeking a poignant and emotionally resonant film.

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.