Summer in Paris. Fifteen-year-old Vincent refuses to join in with his schoolmates torturing rats or selling sperm on the Internet. He lives with his single mother Marie and finally wants to find out who his father is. His investigations lead him to a famous publisher with an obnoxious character.
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+ Green's use of myth is hardly gratuitous. Jesus' story is as familiar to us as Cinderella's or Ulysses', hence director's meddling with a plot that stopped being a sacred and untouchable biography, becoming a modular, adaptable, shifting ensemble. Now the quirk distinguishing YHWH from diff. Supreme Beings was his being a divine Person revealed in History, a full-blown religious revolution! Unlike other God Persons
Some have criticized this as too Bresssonian, too Biblical. I do not consider these to be faults, but strengths. After I gave my mom a copy of Au Hasard, Balthazar, she reported to me "Too Christian!" I said, "Give the disc back to me then" and she replied "Oh, no! It's a great film." This is a noble film, conscious of and confident in its inspiration.
Hopefully just a place-holder, but for now: I really liked it. It is a good film. I won't say I sensed it immediately, but it didn't take long. Without in any way meaning to suggest a hierarchy, I don't think it would be too amiss to say it felt like ascending a slippery slope from Bresson through Kaurismaki to, crazily enough, and only in a very particular way, Capra. Maybe it's just the season.
3.5. Green's only once banged the gong for me - first of his I saw, PONT DES ARTS - but though the others haven't quite succeeded far's I'm concerned, he's building an estimable oeuvre of interesting failures.
There are too many Jesus in this world. Young Jesus, old Jesus, insecure Jesus, Jesus Christ Superster, black Jesus, partizan Jesus, Japanese Jesus directed by Kurosawa, space Jesus. zombie Jesus, Jesus with tights & superpower, Zack Snyder etc. We don't need more Jesus, NO MORE JESUS.
Habitual copyist of Bresson's logos, usually with the use of models (fetching, inclusive, in this film, a "Balthasar"), sometimes Green saves his movies with humor, as if they were an extraordinary gesture of exception, which if they are it will be more for the unusual rather than by their own speech. This film is particularly painful for its irrelevance, turning the distantiation in pose and the humor in redundancy.
Con su nobleza y humor característicos, Eugene Green sigue entregando un cine que está por fuera de cualquier canon. Sin ser radicales, sus personajes tienen una bondad inaúdita: descubren sus sentimientos al mismo tiempo que se enfrentan a los pocos gestos de belleza que quedan en este mundo. Algo similar experimentamos nosotros frente a su cine, uno que escasea y que hay que cuidar porque se encuentra en extinción.
Despite some affinity with the cinema of Alain Resnais, Green didn't get away from excessively mechanic dialogues and tacky postures that often catapult the theatrical modes of expression to a greater extent. (2.5 stars)