Not only a journey for electronic garage, but also a great journey about life, dreams, being young and grow old, seeing your friends and life changing and yours stuck in 90s. I got also surprised by sceneries go so close to each character. An inspiration for us working with art.
Eventually, the music stops, the party ends, the youth grow old, settle down, start families, part ways. But it's magical while it lasts. Few are able to maintain the life of the artist, DJ, writer. What if Paul weren't so handsome? If he didn't have money? What if he hadn't chosen the (once-)proletariat techno fans in lieu of the "bourgeois intellectuals," continued his Lit. thesis? Sly mention of Bolaño at the end.
Mia Hansen-Love's films are all about the arc from euphoria to melancholy, from youth to maturity, from emotional flight and the comedown, from living to dying. It's the cycle of the inevitable, but she does it with such patience and precision. She must be an old vampire.
Eden no es un filme para aspirantes a DJ ni tampoco apunta a convertirse en un manual histórico sobre este género musical. Como en todas las películas realizadas por Hansen Love, sus relatos obedecen a un personaje inmerso a su temporalidad y generación, y cómo este va lidiando con triunfos y asperezas. La trama es cual línea de tiempo. Es la historia sobre éxitos, frustraciones, toques de fondo y rehabilitaciones.
The soundtrack is gorgeous but Hansen-Love uses time and music in an especially wonderful way. On its surface, the narrative is simple and direct but, she so skillfully marries them to emphasize the film's euphoria/ melancholia as the years zoom past. The final star comes from her pitch perfect portrayal of the misery and joy that follow a big night out.
Paul (Félix de Givry) beschreibt den Sound, der ihm mit Quentin vorschwebt für ihr gemeinsames Projekt "Cheers": Zwischen euphorisch und melancholisch soll es klingen, eine Mischung aus Soul und Maschinen. Ungefähr so klingt auch Mia Hansen-Loves vierter Film, der eintaucht in die "French House" Szene der 90er... mehr auf cinegeek.de
My main issue with "Eden" is that characters and our connection with them only seem to exist between all those club scenes and great music, so there wasn't enough intimacy for me to truly care about Cyril's suicide, Louise's troubled personality or even Paul's downward spiral. Less parties and a little more feeling would have taken it one step further. But as a fan of french house, that soundtrack was everything.
A bit like house music through the years, the rhythm of the characters changes through the movie: while in the 1990s they're fresh, hip and unconcerned, they slowly fade into generality and tiredness as the 2000s arrive. Worthy by its soundtrack, the movie is unfortunately dragged to oblivion, resembling the main character Paul, the DJ wannabe.