Anna has just left Paul who, annihilated by the separation, moves back with his father in Paris. His younger brother Jonathan, a casual student, still lives in his father’s apartment and spends most of his time womanizing and fooling around.
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Eh oui vous ne rêvez pas, il s'agit bien là d'une apostrophe, et quelle belle apostrophe que celle de raconter une histoire avec un recul si propre à celui de Louis Garrel
Christophe Honoré est bien le premier réalisateur a m'avoir fait comprendre qu'un avenir dans le cinéma était possible
HONORE, brouillon, attachant, agaçant, poétique, dans ces rapports de tout bord, amoureux, familiaux ou d'amitié. Quel plaisir ce retour de Guy MARCHAND & de M.-F. PISIER. Jolie musique de jazz et chanson de Alex BEAUPAIN === HONORE endearing, annoying, poetic, in these loving relationships or friendship, so natural, moving towards an edge or another, feelings & desire have no border. Lovely jazz music & song.
Honoré constructs his characters' psychology and development through Nouvelle Vague stereotypes- they aren't mirrors of reality but rather of 60s French cinema characters. Their melancholy is childish, they clearly don't know what they're doing - and even though the actors do such a great job in most of Honoré's film - their characters remain pastiches.
'Dans Paris' lacks in maturity what it gains in 'homage'.
I think Honoré figured it out with Les chansons d'amour, by taking the only good scene of Dans Paris (when Romain Duris and Joana Preiss sing to one another) and stretching it out into a much finer film. A mimic artist of questionable skill, he does Demy exceedingly better than he does the Nouvelle Vague.