Sinopsis(1)
En París, el amor está en todas partes. En la barras de sus bares y cafeterías, debajo de la Torre Eiffel, incluso bajo las calles, en el Metro. "Paris, Je T'aime" es un París visto a través de los ojos de algunos de los más aclamados directores, cada uno de ellos nos cuenta una historia que se desarrolla en los diferentes distritos de París. El resultado es un abanico de historias sobre la alegría, la separación, los encuentros inesperados y extraños y sobre todo, sobre el amor. Veremos esta ciudad de una forma que nunca hemos imaginado y entenderemos porqué París es la ciudad más romántica del mundo. (Manga Films S.L.)
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Reseñas (10)
"Paříži, miluji Tě" bych mohl provolávat dnes a denně, i proto jsem se neskonale těšil na poctu světoznámých režisérů francouzské metropoli. S přibývajícím časem a s každou další povídkou se mi obličej křivil do většího a většího úšklebku. Kouzlo a atmosféra Paříže se úplně vytratily, některé povídky mohly být natočeny klidně v Brně, Znojmě nebo lecjakém maloměstě v severních Čechách. Alfonso Cuarón asi v životě nebyl v parku Monceau, jeho povídka byla příšerná, divím se, že Ludivine Sagnier na něco takového kývnula. Čest tohoto ojedinělého díla zachraňuje Tom Tykwer, jeho povídku jsem sjel třikrát, u té jediné mám skutečně pocit, že patří a zapadá do pařížského světa. Špatní nebyli ani bratři Coenové, paradoxně jejich nadsazená povídka by se mohla reálně odehrát. A chyběly tu skutečné francouzské herecké persony - Béart, Auteuil, Darrieux, Deneuve. New Yorku, miluji Tě by měl natočit jedině Woody Allen, jinak to s New Yorkem dopadne tak neblaze jako s Paříží. S odstupem času přidávám jednu hvězdičku, Tom Tykwer si to fakt zaslouží.
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Eighteen Parisian districts plus twenty-two directors equal eighteen "Parisian" views of love in blossom, in decline, beyond its zenith, love non-existent, love wanted, love towards the family, and many of its other facets. Undoubtedly an interesting project, but given the abundance of short stories, it is clear that the quality cannot be constant. So it was a pleasant surprise that none of the stories are downright bad. On the other hand, it is unpleasantly surprising that with such a cadence of sonorous well-known names, only a few stories are at all exceptional, especially in the first half. Most of them have something going for them, but only a few of them will stay with you after the movie is over. That is, about how each situation began or continued. I would point out Sylvain Chomet, whose contribution is definitely one of the best, but even so, the non-animated form unnecessarily hinders him in his flight. I would also point out the highlight of the entire film in the form of a short story by Tom Tykwer. If only for this piece, the movie is worth seeing. Paris, I Love You was supposed to be an emotionally powerful experience as a whole. Which it isn’t, except for two or three moments, but it doesn't necessarily mean it's a bad or mediocre movie. Perhaps because everyone will surely find their own segment that appeals to them.
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A film filled to the brim with my most beloved city and full of different approaches to love, romance, and particularly Paris. And it is precisely in the alternating styles and moods that the greatest weakness and strength of this work lies. While I shook my head at Doyle's patchwork or at why Cuarón's piece is only interesting because it is shot in one continuous take, others would not stomach what I consider the best stories. The tenderness and cuteness of Chadha's romantic bonding, the perfectly fitting dark humor of the Coen brothers, the heartrending sincerity of Nobuhira Suwa, and the perfect Juliette Binoche, the fascinating outer-worldly imagination of Chomet, and Tykwer's visual study of love, relationships, differences, and problems. Some pieces of this bonbon did not taste good to me, so the film as a whole will not receive the highest rating, but not only this group of names will remain in me forever. Beyond any assessable boundaries.
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A very pleasant experience, tuned especially to the wave of relaxed melancholy and love tremors. If I set aside Doyle's truly stupid and inconsistent Porte de Choisy and the situation when the authors confused the short with a cheap kitschy agitation (especially Quais de Seine), here we have the same more or less high-quality and interesting little stories, from which the charming Sylvain Chomet stands out (this is what individuality should look like on the screen for a few minutes) and Payne’s fantastic short, which tells more about Paris through the eyes of a foreigner than most previous short stories combined. Personally, I was also very pleased with Natali's vampire nonesense, the Coens' traditional entertainment show with "donny" Buscemi, minimalist suggestive Loin de 16éme and the excellent craftsmanship (albeit a little weaker in terms of content) of Tykwer and Cuarón.
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I would rate the individual etudes differently. The absolute number one for me was Arrondissement 10, when the blind boy tells Natalie Portman: "I can see you". And I must also mention Arrondissement 7, Tour Eiffel, the boy with the big briefcase and his parents the mimes. Next, story number 7 appealed to me, which was about a man who wants to break up with his wife because of a young stewardess and the fact that the wife sings the same song over and over, wears the same clothes, has lipsticks she doesn't use, doesn't order appetizers and desserts, and ends up eating the husband's entire meal...and what's more, the husband is to the point where he even orders meals that the wife will like. But when his wife tells him she is sick, he doesn't break up with her and leaves the stewardess. He pretends to love his wife until he falls head over heels in love with her again... she dies and he is alone... On the other hand, I would leave out the soulless beginning, i.e. Arrondissement 18, which was rather awkward. The rest was average or above average... anyway I will think about it. Nice work.
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