Characters deliver Green's philo-dialog in lobotomized deadpan, since only through the personal actions of art and the appreciation of beauty do we truly come alive. Even silence is often an end product in that it holds the latent totality of all expression. Yet Le Port des Arts is never stagnant, but brimming with humor as well as gloriously unique visual and sonic highlights--a confluence of love's articulations.
Eugène Green makes actors play weirdly or badly because he has a great movie in mind that requires that :) Quite insane but the result is fantastic! Full of nice and very funny insights into the world of the classical music too.
You can also feel Paris in a way which is really genuine and unique.
How art trumps philosophy. All it takes is one work, however minor or momentary its enactment, to give hope. The artist is not available. At first I didn't know whether to take the film seriously or interpret it as a parody of pretentious, wordy, ascetic French cinema, Adrien Michaux as the dull substitute for Jean-Pierre Léaud, but the second half connects the dots and I came to appreciate its symmetric minimalism.
Green gusta narrar desde dos espacios, dos voces que, más que por coincidencia, por destino se unirán a fin de concebir una tercera historia (o tal vez la única historia que solo esperaba su formación). En "Le pont des arts" sus dos protagonistas serán víctimas de la frustración, una luchando por encajar, el otro, por el contrario, escapando de las normas. Se formará una historia de amor idílica. Curación existencial