J'ai pas sommeil

J'ai pas sommeil gets off to a shaky start, with laughing cops and bland-faced Katerina Golubeva driving her rattle-trap Soviet car around Paris, but soon settles down to an absorbing study of greed and murder. Most of the characters are expatriates, some from eastern Europe, some from Martinique, and all are caught up in the search for happiness in a difficult environment (Paris can be hell for outsiders, as Balzac and many other artists have told us).

At first you aren't aware that it's a murder story: you don't see a woman being strangled and robbed until 64 minutes have elapsed, but Denis holds our attention with atmospheric scenes of the gay sub-culture that Camille moves in. She brings out the voluptuous, narcissistic aspects of this world very well. The performances are all good. Richard Courcet as Camille has little to say, but his body speaks eloquently. Alex Descas and Beatrice Dalle are veterans of Denis's films and are effective as the couple with a child. Theo delivers furniture by day and plays violin in a band at night; he wants to go back to his native Martinique but Mona isn't at all sure about this. Line Renaud does a great job as Ninon, the hotel manager who lovingly deals with all these star-crossed souls. I had to go to YouTube after the credits to hear Line sing Ma cabane au Canada and Frou-Frou... she is wonderful.

Writer-Director Claire Denis is telling a pretty strange tale in her "J'ai pas sommeil." Reportedly inspired by real-life news events, the focus is on an unsavory series of murders in a large French city, and various people somehow related to these happenings. These folks do not all know one another or even, in some cases, come in contact with each other. More strangely, Denis incorporates a few people who don't seem to be related to the events at all. The film's structure is free form, and various scenes are deliberately presented in a disjunct manner. There is some interest generated in trying to figure out what's going on, and in fact, there are a couple of coldly frightening scenes of calculated murder. I found myself not being attracted to nor empathizing with any of these characters. I merely observed with some interest. The general viewer response will depend on personal preferences. All in all, I found this ultimately to be a very slightly above average film work.

This is a very strange film, indeed. In the plot there's something about a Latvian immigrant in Paris, a couple of homosexuals, an old lady's murderer, some African immigrants (I think they're from the Maurice Islands), a woman who is a hotel manager and protects the young Latvian, a transvestite who has his own show on a nightclub, and some other crimes and weird stuff.

But it's not a bad movie after all. Despite the confusing plot, the film has some very nice sequences, some shocking scenes and one of the most beautiful actresses I've ever seen, Ms. Katherina Golubeva, whom I'd never heard about before this film. If you have a lot of time to spend, and you're in the mood for an unusual motion picture with a gorgeous young actress, "J'Ai pas Sommeil" is a good pick.

I enjoyed this film that had beautiful images of the male body, and a colorful mix of characters. Although the director, Claire Denis is a straight, white, woman, the film is full of homosexuality images. These images are done artfully however, do not limit the films appeal to a wide range of people. Although a serial killer is loose in Paris, this film is not a classic thriller, in the sense that the viewer does not feel on-edge, and actually might feel comfortable with the killer as did I. I would recommend this film as a good peek at what it is like to be an outsider in Paris.

You might have to be a foreigner to understand the plight of not belonging to the main culture of a country. The characters portrayed are deracine from their native countries, attracted by the promised land of capitalism, functioning mainly in the twilight hours of Paris, where they are mainly prey for sexual predators. Exploitation of these immigrants continue as it was in colonial times, except this time is not so overt. The illusion of freedom is thin. The impossibility of communication thick. Interacial affairs doomed, as are their children. Pretty bleak, but portrayed with sensitivity by Denis who shows us the underside and post effects of colonialism in contemporary Paris.