Account Jacques Audiard that the first thing that caught his attention after approaching those who, or by age are like him (by young) is his diametrically different relationship, and even opposed, with the loving discourse. "My generation", reason he, "he has used and uses the word as an act of seduction, as a tool for the achievement of desire. Now, however, desire is the first. And then the conversation begins." Let's say that this is one of the possible, not only, teachings of the last work of it. 'Paris, District 13' is an essentially vitalist film literally taken to the assault by people who do not meet the 30; People who first, with forgiveness, get fucked into the viewer and then talk about love. And hence the surprise and, for the moment, the stupor.
As it is already a rule in the filmography of the director of 'a prophet', you could say that her new film is stirred with radicality and surfing against the previous tape. If 'the sisters' brothers' (2018) was a' western 'about the accidents of masculinity in hostile territory, this time it is an elegy to the woman in, again, Comanche territory. Neither the content nor the continent, neither the surface nor the fund, coincide in one and another production. And, nevertheless, the vitality of each plane betray the hand of a convinced director of the capacity and rigor of it for the enteerful narrative, for the desire made verb, for the verb converted into a simple act of love. And so.
'Paris, District 13' was already presented at the last edition of Cannes and now he does it in Seville with the conviction of being a movie of his time and, hurrying, against his time. Rolled on a warm black and white and it would be said that as messy as the heart of the characters, and on an accurate and wise script signed as well as by the Director by the Directors Céline Sciamma and Léa Mysius, the tape follows the trace to four Young Parisians who for a moment of the film will be lovers, then friends and almost always all at once. Of course, first make love and then explain. It is, by giving all the keys, from a free adaptation of the Adrian Tomine comics.
Debucutant actors Noémie Merlant, Lucie Zhang, Makita Samba and Jehnny Beth give life with a unlocked unfairman, to a disturbed teleoperada, a disinterested internet porn actress and an unformed real estate agent. Either quoted can change from profession and love in any frame of the film, but its disenchantment is still intact. The film can be taken by a generational portrait that on date can only be paid in Airbnb for a few days of drunkenness in a foreign city, which makes you not to do it in your own, reserved as it is for the Airbnb. And so.
However, it is not a manifest ribbon. "For a moment," says the director, "You feel that you are treating social issues as if they were the squares of a form: emigration, precarious employment, multiculturalism ... I imagine that you can not help it. But the idea is not to vindicate anything but Let the protagonists of the film be vindicated through each of their difficulties that are their livelihood ".
Audiard slips into the skin of his characters, wherever they come from , to hit to give breath and life to a neighborhood, a city, an entire planet . Each specificity of the district of Les Olympiades ( so the tape is titled in French) archetype , model and structure everything and we all crave . Regardless if we talk about love before or after sex. Bright inauguration, energetic return to life.Updated Date: 05 November 2021, 19:28