Non Fiction

I love French movies because you can have an absolutely horrific hairline and still get pussy

A subtle, patient, and honest observation and critique of the small worlds of intellectuals forced to live hypocritically under capitalist realities. The misery of these pompous people's petit desires and childish whims, and their utter despair in the face of changing market rules. Having said that, I didn't like the meaning attributed to pregnancy and the expectancy of a "newcomer" as a spark of hope. Not that there can't be any hope, but because it's so clichee and cheap. Decent.

I'm glad someone can still make a film like that. Somewhere, Eric Rohmer is smiling.

Much lighter and comic in tone than usual for Assayas, but while still keeping the characters feel totally real and natural.

Intellectually stimulating and emotionally mature.

I appreciated the conversational tone and the self-reflexive nature of this story. Indeed, there seems to be something of a critique of Leonard's overall approach to art-making, destructive as it is for him and others, personally. We only obtain a glimmer of hope when the closed circle of relationship after relationship opens with the possibility of something new.

On zeitgeists and cultural tipping points, the commerce of art, the value we ascribe artefacts, and the increasingly digital world. The lineage from Summer Hours, Clouds of Sils Maria, and Personal Shopper is clear. Moreso a debt to Rohmer's particular style of high-minded and conversational cinema, which is mercifully lightened with easy-going tone and grounded characterization, being as much about social aptitude and sex lives. Its optimism is nice.

Gêmeos

A book publisher struggles trying to fit into a technological world, an actress is tired of her role on a tv series, a book writer that writes novels about his personal life. There're discussions, long dialogues, and a certain clash between an old way of doing things that is trying to survive in a different world. Stylistically, there're pragmatical moments of the plot that are always inserted in the personal life of the characters. Léonard is a great character, Vincent Macaigne is very well.

Pure delight from beginning to end.

Never funny, this movie reminded me of Woody Allen's recent work. Dissapointing effort from Olivier Assayas.

Guillaume Canet'in bayağı yaşlandığı 1 film. Fransız entel takımının internet, sanat ve demokrasi için eleştirdiği aforizmalar. Hayatlarının anını yaşayan zengin görmemiş kesim başarılı anlatılmış. Fakat çok uzun sahneler bayıyor. Oyuncular da ezberi kötü performans veriyor. Senaryoda çok değişiklik olmuş. Sonu tatlı bitiyor. Fransa'nın derdine bak. Kitabı Ipad'den mi okuyalım sesli mi dinleyelim. Bizdeki sorunları yaşasalar intihar ederler.

An exhausting and involving watch, kicking off its conversational and cinematically unfussy approach immediately, featuring some amusing and illuminating back-and-forths on the world of literature these days. But otherwise, there's some nauseatingly too on-the-nose and self-referential moments here to make those in on the joke feel super-clever for getting the reference. There's an emotional distance all throughout, and given the end credits song about aliens, this is maybe on purpose.

25. Adana Film Festivali.

Viewed October 3, 2018.

Delightful conversations