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Париж, я тебя люблю
Irene:
Irene: Вот, нашла рецензию на сайте The Hollywood Reporter. Paris, I Love You (Paris, Je t'Aime) Being in Paris is to be inside a work of art, and it is no surprise that in the charming collection of vignettes that make up "Paris je t'aime," the art is love. This is a Paris where Oscar Wilde can reappear beside his grave at Pere Lachaise to give squabbling lovers a sense of humor. A vampire may pounce on an unsuspecting backpacker in the Madeleine. A cowboy on horseback can bring a grieving mother back to her family. A paramedic may fall in love with her bleeding patient. Love in all its weird and wonderful forms is the subject of 18 short films made by an assortment of international directors who bring individual vision to a collective love letter to the French capital. Most of the directors have written their own pieces, and they range from whimsical to romantic, to dramatic and tragic. With many familiar faces including Juliette Binoche, Fanny Ardant, Natalie Portman, Nick Nolte, Steve Buscemi, Bob Hoskins and Gena Rowlands, the film is necessarily uneven but has an overall winning charm and can expect a warm reception in art houses around the world. Buscemi and Coen brothers completists will not want to miss their hilarious tale of an American tourist on the Metro stop at the Tuileries learning firsthand how accurate his guidebook is. Forget "The Da Vinci Code" -- anyone who sees this film will never look at Mona Lisa's smile again without thinking of the matchless Buscemi. An offbeat sense of humor is established from the opening story, subtitled "Montmartre," in which a frustrated young man (writer-director Bruno Podalydes) struggles to find a parking spot only to spend the time parked complaining aloud about why he can't find a girlfriend. Then a lovely young woman (Florence Muller) faints beside his car. It's Paris. Writer-director Gurinder Chadha spends a few minutes showing how a young man (Cyril Descours) can learn more from a modest hijab-wearing young woman (Leila Bekhti) than from his leering buddies. Isabel Coixet manages to find great humor in a story of a failed love affair given new life after one of the lovers (Miranda Richardson) is diagnosed with terminal leukemia, while Oliver Schmitz's new paramedic (Aissa Maiga) learns how fleeting love can be while treating a stab victim (Seydou Boro). Several sequences begin with misdirection so that Nolte's May-December romance turns out to be not that at all, while Hoskins and Ardant's strip club encounter involves more than a little planned artifice. Tom Tykwer's tale of an actress (Portman) trying to break off her affair with a blind linguist (Melchior Besion) also holds a surprise. Sylvain Chomet's item involving mimes is pleasingly self-mocking, and Alexander Payne's narrative of a Denver matron (Margo Martindale) visiting the city to improve her halting French begins in sarcasm and ends in sympathy. Binoche grieves for her dead son in Nobuhiro Suwa's parable about a cowboy (Willem Defoe) who rides the midnight streets of Paris to ease her pain. Director Barbet Schroeder has fun along with Li Xin in a wacky musical fantasy by Christopher Doyle. Wes Craven naturally gravitates to a graveyard for his oddball contribution involving Wilde. The cinematography is varied and wonderful. Pierre Adenot's music fits the bill, and there's a great waltz at the end with English adaptation by Oscar-winning lyricist Will Jennings.
Irene: [url=http://www.allocine.fr/film/video_gen_cfilm=46401.html]Видео о съемках[/url]
Mak: еще выпущен альбом о съемках фильм
Irene: Премьера состоится сегодня на Каннском фестивале. Во Франции прокат фильма начнется 21 июня.
Dreamer: Значит ДВД ждать не раньше осени... На пиратов пожалуй, надеяться особо не стоит. Я все удивляюсь, как же все таки повезло с "Годом ливня"
Irene: Dreamer, я думаю, что не раньше следующего года. :( Судя по тому, как было с "Натали..." Фильм вышел в прокат в январе, а на DVD в сентябре.
Irene: Вот, что пишут на официальном сайте кинофестиваля: Un Certain Regard : "Paris je t'aime" The section Un Certain Regard opens this Thursday with the collective work Paris je t'aime. Made up of 18 shorts inspired by 18 of Paris arrondissements (districts), the film speaks of romantic encounters taking place in various spots of the capital. Each short, running five minutes, bears the hallmark of great international filmmakers, and sometimes Cannes regulars, such as Gus Van Sant, Walter Salles, the Coen brothers, Alfonso Cuaron, Denis Podalydès, Wes Craven and Gérard Depardieu. In the credits of this atypical collective film, celebrating both love and the art of cinema, appear the names of actors as prestigious as Natalie Portman, Gena Rowlands, Elijah Wood, Ben Gazzara, Willem Dafoe, Steve Buscemi and Catherine Deneuve. In the words of producer Claudie Ossard, on the origin of the project Paris je t'aime: "Each director had to tell the story of a romantic encounter in one of Paris' arrondissements in under five minutes, and on a relatively tight budget. None of the directors felt limited in any way, despite the specs being so precise. I was curious to see Paris through the eyes of foreign directors. We Parisians know the city all too well, and are blinded by force of habit to a lot of things going on around us. I was convinced that these filmmakers drawn from all four corners of the globe would make us look at Paris afresh."
Irene:
Irene: И еще информация с официального сайта Каннского фестиваля. Press conference: "Paris, Je t'aime" Upon the occasion of the presentation of the collective film Paris je t'aime, opening the section Un Certain Regard, , part of the film's team gathered together to lend themselves to the game of questions and answers with journalists at a press conference. Present were: filmmakers Alfonso Cuaron, Gurinder Chadha, Sylvain Chomet, Vincenzo Natali and Alexander Payne, actresses Gena Rowlands, Leпla Bekhti, Margo Martindale, Miranda Richardson and Ludivine Sagnier, actors Paul Putner and Elijah Wood, as well as producer Claudie Ossard. Selected extracts. Producer Claudie Ossard on choosing quarters over arrondissements: "At the outset, the film was to focus on all twenty arrondissements of Paris. If we abandoned this option to concentrate on the quarters of the capital, it was to make the whole thing more human, more recognisable for audiences. Often, people don't even know where the 11th arrondissement is, or that Pigalle is in the 9th... Speaking about 'quarters' thus seemed clearer to us." Claudie Ossard on the specs to be respected: "There weren't really any rules to be respected. The very basis of this project, its energy, was to portray romantic encounters in Paris in just five minutes. That's all. From then on, every director was able to tell whatever story he wished." Gurinder Chadha on how she got involved in the project: "I was sent an email asking if I'd like to participate in this wonderful project and I immediately replied and said I'd be delighted. In 10 minutes I had written out the plan of the story I wanted to tell. I knew I wanted to make a film about a Parisian Muslim girl, and for me, it could have been in any district, but I was given the 5th. What was interesting to me, it turned out that I had the Paris Mosque in my arrondissement, which I didn't know. So obviously Allah had something to do with it." Sylvain Chomet on his joining the project: "I equally received an email. I would have liked to shoot in the 14th arrondissement but in the end, I shot in the 7th, which nobody else seemed to want. It's true that the Eiffel Tower isn't particularly easy to frame, but I found that all the more challenging." Elijah Wood on his involvement in the project : “For me, just being involved in the project was intriguing by the very nature of how it was put together, bringing all of these different directors from different parts of the world together to tell a story from their perspective about love in Paris. And then I found out that I worked with Vincenzo who I was a fan of and the vampire story came after.” Ludivine Sagnier on her status as a Parisian: "For me, this project was undoubtedly different than for the other directors and actors, for I am a Parisian myself. I love this city, I live in it each and every day. When I was contacted to act in this film, and when Alfonso Cuaron asked to direct me, I thought that was fantastic. I love the ambition of the project as well as the love which Claudie Ossard bore it. As a Parisian, I wanted there to be an outsider's view of the capital, and not the picture-postcard Paris complete with Parisian, beret and baguette. I wanted something deep and authentic." On the short film format: Gena Rowlands: "I don't really know what it brings to it except a sort of discipline I guess that you have to stick to it and it's just intriguing to me because the whole thing seemed impossible. And then to not only have all of these short stories in such a short time but then to have to bend them some way so that it wasn't jarring or clumsy." Alexander Payne: “The beauty of a short is that it can be anything and is not burdened with narrative expectations that we tend to have on a feature film. You can have cinematic ideas that may never find their way into a feature film.” Claudie Ossard on the assemblage of the stories: "It's simple: the assembly of the stories was guided by the films themselves. Everything was a question of the editors' work. The film is driven by the intensity of the stories. When all is said and done, it is a uniform film, a true film in itself, full of love and encounters. A film sometimes funny, sometimes sad, with various atmospheres." Alfonso Cuaron on the mixing of languages: "the script was written in English and what Ludivine created with Nick Nolte is a dynamic language in the sense of Nick Nolte speaking a lousy French and Ludivine correcting the whole thing. That's part of the process of making a movie, making its life and trusting your actors and their instincts. For us, we wanted a Paris that was specifically Paris."
Irene: А вот тут можно посмотреть видео с красной дорожки перед премьерой. Кликнуть на подходящий значок в разделе Steps : Paris je t'aime
Irene: Рецензия с сайта Screendaily.com Paris Je T’Aime Jonathan Romney in Cannes 19 May 2006 04:00 That largely unloved genre, the portmanteau film, no doubt works best in specialised slots - such as that of the opener in the Un Certain Regard section at Cannes. Fitting the bill as a light, generally celebratory section curtain-raiser, Paris Je T’Aime is a postcard-like, sometimes genuinely charming, whistle-stop city tour, undertaken by 18 international directors or directing duos. Undemanding and touristic as it sometimes is, it nevertheless squeezes new visual and conceptual juice out of Europe’s most over-filmed city. While the sum total is largely disposable, the collection has fewer out-and-out clunkers than customarily expected from such all-star packages – and each segment is so brief that there’s never time to get bored. A hyper-prestigious cast should make this far more marketable than most anthologies, especially with Paris fever currently being stoked by the more dubious views of the city on offer in The Da Vinci Code. Labelled as “Un Film Collectif”, the film – presumably inspired by the 1965 nouvelle vague showcase Paris Vu Par… – collects love stories set in different areas of the city. Some contributors have other things on their minds than just love, albeit nothing too radical to upset the generally cosy applecart. Oliver Schmitz’s tragic vignette is of a city that remains hostile to immigrants; Gurinder Chadha offers a good-naturedly didactic plea for multicultural understanding; and Walter Salles and Daniela Thomas tell a concise tale of haves and have-nots, with Catalina Sandina Moreno as a young Latino single mother. Among the out-and-out comedies, the Coen brothers’ brisk anecdote features Steve Buscemi as a confused tourist getting into a mess on a Metro platform: it’s enjoyable, albeit revealing a rather odd US conception of French emotional excesses. Animator Sylvain Chomet’s hyper-stylised venture into live action – with a few digital tweaks – will be the one to polarise audiences. Playing knowingly with Gallic cliches, this tale of a white-face mime will be a hit with lovers of Chomet’s Belleville Rendezvous, but will repel anyone averse to self-conscious highly-wrought cartoonish artifice. There are, inevitably, a few egregious duds. Tom Tykwer’s speeded-up romance tries way too hard to impress; Bob Hoskins and Fanny Ardant are bizarrely matched as a middle-aged couple trying to reignite their passion in Pigalle, in Richard Lagravenese’s tired effort. And, although it’s set in Pиre-Lachaise cemetery, Wes Craven’s segment is not horror at all, but the soppiest of the lot, about an English couple whose marriage is saved by the ghostly intervention of Oscar Wilde. The best comes at the end: Frederic Auburtin and Gerard Depardieu reunite Ben Gazzara and Gena Rowlands as an elderly couple meeting to discuss their divorce, though they’re clearly made for each other. The actors’ almost telepathic interplay expertly extracts all the tenderness and tragicomedy from their characters. Finally, Alexander Payne casts Margo Martindale as a lonely American visitor; her voice-over narrative, in comically wretched French, initially seems to make her a figure of fun, but her final ambivalent epiphany beautifully puts a seal on the film as a love letter to the city. A brief coda, reuniting some of the characters, signs off an honourable, ambitious miscellany that, at the very least, reminds us that there’s more to Paris than the mysteries of the Louvre pyramid.
Irene: И еще одна с Variety.com Paris je t'aime MONTMARTRE Directed, written by Bruno Podalydes. QUAIS DE SEINE Directed by Gurinder Chadha. Screenplay, Paul Mayeda Berges, Chadha. LE MARAIS Directed, written by Gus Van Sant. TUILERIES Directed, written by Joel and Ethan Coen LOIN DU 16EME Directed, written by Walter Salles and Daniela Thomas. PORTE DE CHOISY Directed, written by Christopher Doyle, in collaboration with Gabrielle Keng, Peralta & Rain Kathy Li. BASTILLE Directed, written by Isabelle Coixet. PLACE DES VICTOIRES Directed, written by Nobuhiro Suwa. TOUR EIFFEL Directed, written by Sylvain Chomet. PARC MONCEAU Directed, written by Alfonso Cuaron. PIGALLE Directed, written by Richard LaGravanese. QUARTIER DES ENFANTS ROUGES Directed, written by Olivier Assayas. PLACE DES FETES Directed, written by Olivier Schmitz. QUARTIER DE LA MADELEINE Camera (color), Tetsuo Nagata. PERE-LACHAISE Directed, written by Wes Craven. QUARTIER LATIN Directed by Gerard Depardieu, Frederic Auburtin. Screenplay, Gena Rowlands. 14TH ARRONDISSEMENT Directed, written by Alexander Payne. MONTMARTRE With: Florence Muller, Podalydes. QUAIS DE SEINE With: Leila Bekhti, Cyril Descours. LE MARAIS With: Marianne Faithfull, Elias McConnell, Gaspard Ulliel. TUILERIES With: Steve Buscemi, Julie Bataille, Axel Kiener. LOIN DU 16EME With: Catalina Sandino Moreno. PORTE DE CHOISY With: Barbet Schroeder, Li Xin. BASTILLE With: Sergio Castellitto, Miranda Richardson, Leonor Watling. PLACE DES VICTOIRES With: Juliette Binoche, Willem Dafoe, Hippolyte Girardot. TOUR EIFFEL With: Paul Putner, Yolande Moreau. PARC MONCEAU With: Nick Nolte, Ludivine Sagnier. PIGALLE With: Bob Hoskins, Fanny Ardant. QUARTIER DES ENFANTS ROUGES With: Maggie Gyllenhall, Lionel Dray. PLACE DES FETES With: Aissa Maiga, Seydou Boro. QUARTIER DE LA MADELEINE With: Elijah Wood, Olga Kurylenko. PERE-LACHAISE With: Natalie Portman, Melchior Beslon. QUARTIER LATIN Directed by Gerard Depardieu, Frederic Auburtin. Screenplay, Gena Rowlands. 14TH ARRONDISSEMENT With: Margo Martindale. By LISA NESSELSON Twenty different directors tackle 18 of Paris' most distinctive neighborhoods with close to 20-20 artistic vision in "Paris je t'aime." Omnibus -- with the City of Lights as its milieu and love as its raison d'etre -- is uneven but quite pleasant as a two-hour experience that acknowledges the idealized Paris people carry in their heads while wisely veering off the beaten track. International roster of helmers, most of them working with local techies, assures warranted curiosity among the film-savvy -- the lure of Paris itself should do the rest. Pic opens in Gaul June 21 following its Un Certain Regard preem at Cannes. Picture postcard overviews establish the ambient beauty quotient of Paris. They are followed by capsule views in a tic-tac-toe split screen format. Fears that the venture might be a series of glorified ads quickly dissipate as good actors portraying (mostly) real people are given the figurative floor. Each seg, set in one of the neighborhoods within the city's official administrative districts, is pinpointed with the name of the vicinity and the corresponding director superimposed over an establishing shot. Each seg was written or co-written by its helmer, except "Quartier Latin," which was penned by Gena Rowlands but co-helmed by Gerard Depardieu and Frederic Auburtin. Most are in French, with three in English and a few a mixture of the two languages. Some installments boast definite punchlines, while others capture a mood or offer up an open-ended slice of life. The 18 episodes have been strung together in an order that feels right, balanced about as well as can be hoped for with no real narrative cement except the umbrella brief to make a five minute love story in the assigned quarter. With a light touch and an eye for the glories of a sunny day, Gurinder Chadha offers a pitch-perfect commentary on the idiocy of religious and racial stereotyping in "Quais de Seine." Steve Buscemi's majestic schleppiness anchors Joel and Ethan Coen's comic slam dunk in "Tuileries," set in the Metro station of that name. On the infinitely more poignant front, Walter Salles and Daniela Thomas paint a wrenching portrait of the gulf between a poor immigrant servant's (Catalina Sandino Moreno) experience of motherhood and that of her employer in "Loin du 16eme." "Bastille" is Isabelle Coixet's intensely bittersweet take on a man (Sergio Castellitto) about to leave his wife (Miranda Richardson) for his mistress (Leonor Watling). The power of even the briefest of human interactions and the fall-out of being in the wrong place at the wrong time are communicated with depth and economy in "Place des Fetes" by Olivier Schmitz. Olivier Assayas' "Quartier des Enfants Rouges" is like a revisiting of helmer's "Irma Vep" a decade later, with a few notes borrowed from "Clean." In "Tour Eiffel," Sylvain Chomet, the gifted animator of "The Triplettes of Belleville" fame, lenses live actors for the first time, imbuing them with much of the off-kilter humor that's his trademark. "Cube" helmer Vicenzo Natali's ominously scored and dialogue-free vampire riff "Quartier de la Madeleine" doesn't really jell despite an earnest perf by Elijah Wood but proves an amusing lead-in to Wes Craven's "Pere-Lachaise." Although viewers might expect something sinister, Emily Mortimer and Rufus Sewell inhabit a sweetly spirited look at how the dead can goose the living. A freshly beefed up Gaspard Ulliel delivers a frank and yearning monologue to a printshop staffer (Elias McConnell) in Gus Van Sant's "Le Marais." Lensing is more conventional than the dreamy-yet-controlled meanderings of Van Sant's last few features. Blink and you'll miss Marianne Faithful. Christopher Doyle's ambitious genre-melee, "Porte de Choisy" is set in Chinatown but all over the map as Barbet Schroeder plays a hair care products rep. Alfonso Cuaron plays with sound, space and viewer assumptions in a long tracking shot with a mild twist as his camera follows Nick Nolte and Ludivine Sagnier in "Parc Monceau." Fanny Ardant and Bob Hoskins play a couple unsure just how theatrical their sex lives should be in Richard LaGravanese's piquant if uneven "Pigalle." Weakest -- but still watchable -- entries are Bruno Podalydes' harmlessly amusing "Montmartre"; Nobuhiro Suwa's overwrought look at parental grief, "Place des Victoires" starring Juliette Binoche and Willem Dafoe; and Tom Tykwer's "Faubourg Saint-Denis" which chronicles a sudden glitch in the storybook romance between a blind French student of languages (Melchior Beslon) and an American actress (Natalie Portman). Rowlands and Ben Gazzara get excellent mileage out of a cafe appointment with edgy yet affectionate sparring in "Quartier Latin." Alexander Payne skillfully condenses the tone of his feature work into the closing seg, "14th Arrondissement," in which Margo Martindale shines as a middle-aged letter carrier from Denver narrating her solo trip to Paris in French. Interstitial shots of Paris and coda in which certain characters cross paths don't add much and veer dangerously close to saccharine. But project -- four years in the making --avoided most pitfalls and turned out better than average.
Irene: Рецензия с сайта Gzt.ru Амурный интернационал Каннский фестиваль признался в любви Парижу В соревнование за "Золотую пальмовую ветвь" первыми вступили ирландские борцы за независимость из фильма Кена Лоуча "Ветер, который качает вереск" и китайские любовники из картины Лоу Йе "Летний дворец". Параллельно стартовала престижная внеконкурсная программа "Особый взгляд", где тоже по итогам фестиваля будут вручены награды. В этой программе собираются, как правило, экспериментальные или "неформатные" картины, а также множество дебютов. Но попадаются и маститые авторы - вроде итальянца Марко Белоккио, - которые в иные годы с успехом украсили бы и основной конкурс. Именно в "Особом взгляде" будет демонстрироваться полуфантастическая русскоязычная картина "977" молодого режиссера Николая Хомерики. В параллельной программе широко представлены восточноевропейские и азиатские кинематографии. Но открылся "Особый взгляд" поистине киногурманским проектом, название которого будет, пожалуй, понятно всем без перевода: "Paris, je t´aime" ("Париж, люблю тебя"). Добрых два десятка известных режиссеров из разных стран сняли по короткометражке, события каждой из которых замешаны на любви и разворачиваются в одном из округов французской столицы: на Монмартре, возле Эйфелевой башни, на Пляс Пигаль, на набережной Сены... Лувр после показанного на открытии "Кода Да Винчи" решили, видимо, оставить в покое. Калейдоскоп амурных историй предваряется нарезкой открыточных парижских видов, которые можно найти в фотоальбоме любого туриста. Но дальше начинается самое интересное: каждый из режиссеров всего за несколько минут постарался в собственном стиле выразить впечатление от города и заодно продемонстрировать свои взгляды на современную жизнь. Узнавать режиссерские стили для любого киномана - истинное удовольствие. К примеру, Гас ван Сент посвятил свой фрагмент случайному знакомству двух импозантных и артистичных молодых людей из квартала Марэ, Кристофер Дойл снял миниатюру про близких его вкусу парижских китаянок, а Уэс Крейвен привел призрак Оскара Уайльда к его собственной могиле. Бразильцы Уолтер Саллес и Даниэла Томас сделали скупую и лаконичную социальную драму про прислугу-иммигрантку, работающую в богатом доме, а французы Жерар Депардье и Фредерик Обюртен сняли трогательную историю о привязанности разведенных престарелых супругов. На экране в каждой из новелл мелькают и знакомые лица - от Ника Нолти до Натали Портман, от Жюльетт Бинош до Фанни Ардан, - и новые для публики исполнители разных рас и национальностей. Но больше всего удались участникам альманаха три истории о приключениях американцев в Париже. В одной из них, состряпанной братьями Коэнами, герой уморительного Стива Бушеми ждет поезда на платформе парижского метро и читает путеводитель. За считанные минуты гость столицы умудрится пережить все, о чем предупреждает книжка: от любовного приключения до нападения недружелюбных аборигенов. В другой новелле, снятой канадцем Винченцо Натали в жанре комедийного ужастика, Элайджа Вуд, тоже турист, некстати оказался в безлюдном городском уголке ночью и пережил минуты страсти с соблазнительной вампиршей. И наконец, в заключительной, достойно венчающей этот многофигурный цикл короткометражке Александра Пэйна в любви к Парижу признается типичная американская провинциалка лет пятидесяти. Она рассказывает про свое знакомство с городом на французском языке - с жутчайшим акцентом, но парадоксальным образом это лишь придает монологу искренности. Разными путями герои картины подводят публику к логичному выводу: Париж многолик, и у каждого он свой, но свет клином на нем явно не сошелся. Взаимоотношения между людьми все же важнее их отношений с городом.
Irene:
Irene: Вот тут можно скачать два трейлера и ролик о фильме.
Le fou:
Irene:
Le fou: ура! кажется "осел" выдала "Paris, Je t'Aime"
Irene: Le fou, это может быть совсем не то... Есть еще какая-то документалка с таким названием...
Le fou: Irene я почти каждый день прооверяю пополнения с таким названием все что там появлялось весло не больше 200 метров а ща 699,52 ну, посмотрим если что покричу :)))
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