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Ratings & Reviews

  1. Aardsy's rating of the film Paris Belongs to Us

  2. Ozu_Teapot's rating of the film Paris Belongs to Us

  3. FISCHER's rating of the film Paris Belongs to Us

    Premier long métrage de Jacques Rivette où apparaissent déjà ses deux thèmes favoris et récurrents : le monde du théâtre et l'obsession du complot... www.cinefiches.com

  4. Il secondo maestro del revolver's rating of the film Paris Belongs to Us

  5. Christopher McQuain's rating of the film Paris Belongs to Us

  6. José Neves's rating of the film Paris Belongs to Us

  7. Andrew Miller's rating of the film Paris Belongs to Us

    Great to have this is circulation again (BFI, Criterion, Mubi). Like the maze of meaning in Out 1, all of Rivette's films seem to work like one massive temple of artifice: rooms within rooms, doors opening on more doors.

  8. Matthew Martens's rating of the film Paris Belongs to Us

    Of the many later Rivettes anticipated by this early land-grab, Paris Belongs to Us, albeit conventional by comparison, felt to me (and it's just a feeling, unfocused by any analysis) most like Le Pont du Nord. Multivalent mazes that double as their own maps, both films are strangely gripping, spellbinding even, while also evincing elements of deep play; as, I suppose, any serious mystery must. A many-marveled debut.

  9. Lynch/Fellini's rating of the film Paris Belongs to Us

    Rivette's debut is a frantic piece of cinema that hints at the masterpieces that were to come!

  10. Jason's rating of the film Paris Belongs to Us

    Paris belongs to us. Paris belongs to no one. Should seem obvious at this point that you don't get to discuss youth and radicality in the 60s without discussing serious attempts to establish new groups and new psychosocial formations in relation to groups. Rivette was really the only great filmmaker of the groupuscule until Godard came along w/ La Chinoise. No other new wave director began nearly as socially radical.

  11. gropitse's rating of the film Paris Belongs to Us

    Godard cameo la Rivette. Poți să-ți permiți să suferi burghez într-un așa oraș.

  12. jchandleroc's rating of the film Paris Belongs to Us

    Steeped in disaffected bourgeois pessimism and alienation, Paris itself becomes a playground for the darker aspects of the human psyche. The city looms and menaces; it's once glorious monuments and architecture become threatening through Rivette's lens. However, though latent with paranoia and dread, the film still manages moments of discordant yet refreshing playfulness.

  13. Brendan's rating of the film Paris Belongs to Us

    An attempt at quelling entropy by way of conspiracy and the camera

  14. promisses in water's rating of the film Paris Belongs to Us

    “Everything is interconnected”, points out Anne, the protagonist in “mystical crisis”, about Shakepeare's Pericles. Like a snakes-and-ladders game in the form of film, Rivette's first feature mixes, in several cyphered signs of visual and sound, the conspiracies and mysteries, secrecy and lies, love and death, theatre and cinema — all in literal and figured labyrinths, between the truth or lie of fiction itself.

  15. Quesera,sera's rating of the film Paris Belongs to Us

    it annoyed me at first, because 1 hr long I've been questioning, imagining the problem but suddenly came more interesting and dense. a very long work..

  16. Stevie's rating of the film Paris Belongs to Us

    Incredible debut feature from Rivette with great cameos from Godard and Demy. Definitely makes you think- who really runs the world? Are we really free?

  17. hazal ilbay's rating of the film Paris Belongs to Us

    What a mind-consuming work! But don't get me wrong, I don't mean that in a negative way...Paris Belongs to Us seems to be the classic depiction of modern day paranoia, it is worth watching in every possible way.

  18. Michael Goetz's rating of the film Paris Belongs to Us

    Rivette's first feature, it has a few rough edges in the craft, but the sensibility is fully formed, and it's one of the most influential of the latter 20th century. Here he plants the seeds of urban paranoia that would flourish from Kubrick's Lolita, through Pynchon, The Parallax View, and on to Mulholland Drive and Eyes Wide Shut. Rivette would get better at making movies. Most of them were footnotes to this one.

  19. asdfg's rating of the film Paris Belongs to Us

  20. tibber's rating of the film Paris Belongs to Us

    Seeing this convinced me that Rivette would have been the perfect director for my hypothetical adaptation of Pynchon's The Crying of Lot 49. Shame that it never happened.

  21. Annie Gentil-Kraatz's rating of the film Paris Belongs to Us

    Interesting small budget film from the 60s and the new wave era. Some colourful characters + good to understand the anxiety the cold war was creating in France at the time. Not my favourite black and white film but worth watching.

  22. Ashley Shen Y J's rating of the film Paris Belongs to Us

    The abrupt ending makes you go from "huh?" to "wow!"

  23. 張大智's rating of the film Paris Belongs to Us

    Maybe I've never seen a film ending as strangely, or in such a quietly terrifying way as in Paris Nous Appartient. I ask myself how it is that Hitchcock or Melville in decades of making mystery films never created a scene quite as mystifying.

  24. Leandro Schonfelder's rating of the film Paris Belongs to Us

    Pascal Bonitzer's theory on de-framing (décadrage) finds here one of its defining examples: as on Straub or Rouch, the un-centered compositions aren't pictorial, but reinforcements of the borders as a limit - a tool used on narrative purposes such as the threats that are always invisible (for us and for the characters), outside of the frame.

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