Paris, 13th District
Paris, 13th District
Regie:
Jacques AudiardKamera:
Paul GuilhaumeMusik:
Erwan CastexBesetzung:
Noémie Merlant, Geneviève Doang, Jehnny Beth, Makita Samba, Lucie Zhang, Anaïde Rozam, Pol White, Xing Xing ChengStreaming (3)
Inhalte(1)
Paris, die ewige Stadt der Liebe. Hier leben sie dicht gedrängt, zwischen Sehnsüchten, Abenteuern, Dramen: Émilie schlägt sich nach ihrem Elite-Studium mit billigen Gelegenheitsjobs herum, hat schnellen Sex und träumt von einer Beziehung; Camille hat als junger Lehrer beruflich noch Illusionen, dafür keine in der Liebe, außer unkomplizierten Sex; Nora ist in die Stadt gekommen, um ihrer Vergangenheit zu entfliehen und mit Anfang Dreißig ihr Jura-Studium wieder aufzunehmen und Louise bietet als Amber Sweet im Internet erotische Dienste gegen Bezahlung an. – Drei Frauen, ein Mann. Ihre Lebenswege kreuzen sich im 13. Arrondissement in Paris. Der attraktive Camille zieht bei Émilie als Mitbewohner ein, wird ohne Umschweife ihr Liebhaber und zieht ebenso schnell wieder aus. Liebe ist angeblich nicht sein Stil – bis er die kühle Nora trifft. Noras Hoffnungen auf einen akademischen Neuanfang in Paris haben sich unterdessen zerschlagen: Nach einer wilden Disconacht wollen Kommilitonen in ihr den Pornostar Amber Sweet wiedererkennen. Noras Zukunftsträume wanken. Sie muss die süße Amber nun unbedingt persönlich kennenlernen. (Neue Visionen)
(mehr)Kritiken (5)
Paris, 13th District is a portrait of a generation whose lives are characterised by the instability of their work, living, relationships and even their identity (fragmented by digital technologies). It is a portrait of a world in which communion happens only during sex. Otherwise, it is characterised by separateness, which is highlighted by a split screen and the frequency of long-distance conversations, and contrast emphasised by the black-and-white cinematography. Like the lives of the characters, who are rootless and constantly on the move, Audiard’s tenement love poem lacks a fixed point around which everything would revolve. Perspectives constantly change and the micro-stories start anew (as in a multi-episode series), the rhythm is irregular and the relationships are fleeting. Something more stable emerges very slowly, as if incidentally. Merely the expectation of whether something will occur in the end is not enough to hold one’s attention for the film’s whole 100-minute runtime. You have to form a connection with the characters, which is relatively easy thanks to the great actors and sensuous cinematography, which takes into account the photogenic nature of the locations more than the social dimension of life in this particular part of Paris. The conclusion, which comes without a deeper examination of many of the themes alluded to in the film (e.g. the weight of cultural traditions and family and personal traumas), is banal and, in retrospect, the whole film gives the same impression, as it begins and ends with clichés relating to the emotional life of millennials without looking beyond them. 70%
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An attempt to capture the European Tinder generation, which is meant to appeal to its members. In my eyes, it fails because it clings too much to everything that is photogenic and attractive, and the dramatic aspect of the project suffers as a result. It is a typical example of a film where the director presents characters that, according to his opinion, I should identify with and root for, while I see them in a completely different light. If I were to rely solely on my emotions, I would categorically discard the film without hesitation. I did not see eye to eye with my favorite Audiard this time. It is strange that the Finnish film Games People Play, which deals with the same age group burdened by similar emotional instability and social unanchoredness, captivated me and earned a full five stars. In this film, with the partial exception of Nora, whom the director manipulates in a different way than I would have imagined, everyone was terribly annoying, including the explicit depiction of eroticism. I never thought I would end up as a moralist, but here I have the impression that I see a lot of self-centered, immature thirty-year-olds who are setting themselves up for loneliness and will not be able to form functional families. Overall impression: 35%.
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Ein äußerst elegant inszenierter Film, der die romantischen und gegenseitig verbundenen Schicksale von drei Pariser Dreißigjährigen untersucht. Der erfahrene Filmemacher Jacques Audiard beweist, dass er immer noch am Puls der Zeit und der modernen Kinematografie ist und ein Gespür für das Schreiben intelligenter und gleichzeitig vollkommen glaubhafter Dialoge sowie für den Aufbau überzeugender und durchdachter Charaktere hat. Gleichzeitig führt er die Schauspieler hervorragend und arbeitet ausgezeichnet mit der Musik. Auch die schwarz-weiße Kamera ist großartig und bietet nicht nur äußerst ästhetisch aufgenommene Erotik. Einige der angesprochenen Themen wirken ein wenig überflüssig, dennoch funktioniert der Film als Ganzes außergewöhnlich gut.
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A beautiful film that is slightly reminiscent of Sofia Coppola's poetry, but in a completely different (and more intense) vein. The magical music, coupled with the beautifully shot black and white Paris, makes for an almost "Allen-esque" experience in which the relationships of the main characters intertwine and entangle in a way I haven't seen elsewhere in a long time. A distinctive and sensitive drama with a strong ending. 80% [KVIFF 2021]
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"A survey found that speaking to a crowd is people's number-one fear. Their number-two fear... is death. Seriously, think about that. It means that for most people, at a funeral, they'd rather be in the casket..." - A beautiful black and white movie about the plight of our souls. Add to that the polished soundtrack, and I'm extremely satisfied. (90%)
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