Marion (Julie Delpy) and Mingus (Chris Rock) live cozily—perhaps too cozily—with their cat and two young children from previous relationships. However, when Marion’s jolly father (played by Delpy’s real-life dad), her oversexed sister, and her sister’s outrageous boyfriend unceremoniously descend upon them for a visit, it initiates two unforgettable days that will test Marion and Mingus’s relationship. With their unwitting racism and sexual frankness, the French triumvirate hilariously has no boundaries or filters… and no person is left unscathed in its wake.
Directed and cowritten by Delpy, 2 Days in New York is a deliciously witty romp. One of the pleasures of this follow-up film to 2 Days in Paris is the addition of Chris Rock, who—amid the Gallic mayhem—convincingly plays the straight man as Marion’s hipster American boyfriend. With great skill and energy, Delpy heightens cultural differences to comedic extremes but also manages to show that sometimes change is the best solution to a relationship that’s been pushed to its limit. –Sundance Film Festival
Known for both her blonde, ethereal beauty and her considerable talent, Julie Delpy is one of the most popular French actresses of her generation. Born to show business parents in Paris on December 21, 1969, Delpy was discovered at age 14 by director Jean-Luc Godard, who cast her in his 1985 Détective. The young actress had her first starring role two years later as the title character in Bertrand Tavernier’s La Passion Béatrice, and then gained worldwide prominence with her portrayal of a young pro-Nazi eager to produce babies for the Fuhrer in Agneiszka Holland’s Europa, Europa (1991).
Subsequent efforts to make Delpy a mainstream Hollywood actress in such films as The Three Musketeers (1993) were largely resisted by Delpy herself, who demonstrated a preference for appearing in the small, thought-provoking films best appreciated at cinema festivals. She made some of her more memorable appearances in Killing Zoe (1994), which cast… read more
Slapdash squirms and a flitty screenplay which sidesteps insights on relationships and love to be a sitcom-y vehicle for Marion's ongoing life story makes a very uneven watch, but it has the loose charm of improv comedy (though Delpy's mind apparently has the attention span and of a small bird).
I enjoyed approximately ten minutes of Vincent Gallo from the whole film. But unfortunately I think Delpy is in her decline in cinema. I mean at least, i'd have expected more complicated dialogues which have philosophical and sociological basis at all.
For some, Tribeca’s become “a great facilitator and promoter of international film and video culture.”
“Delpy has become, to an almost discomfiting extent, a distaff, semi-continental version of Woody Allen at his warmest and most gentrified.”