Armel Hostioua€™s first feature-length film envisions Paris as a contemplative landscape of haze and flux. Tout comme la feuille qui ouvre ce premier film da€™Armel Hostiou, les trois protagonistes, qui ne se connaissent pas et ne se rencontreront pas, sont suspendus dans la€™air de la ville.
Est-ce Alain Bergala qui distinguait les films-lacs des films-A®les, notamment A  propos de JL GodardA ? Armel Hostioua€™s haunting study of urban alienation follows three charactersa€”a woman, a man, and a childa€”over the period of a single day in Paris. Mort Rosenblum, a celebrated foreign correspondent, invites us aboard his fifty-four-foot launch tied up in the center of Paris and introduces us to the characters who share his life along the river, ranging from eccentric movie stars and reclusive novelists to barge families just scraping by.
Artists tend to gravitate towards the left eye, the intuitive-feeling eye, the eye of dream. Mid-summer, walking to meet Richard for dinner in the Marais, I saw ahead of me the most startling street person I’ve seen so far in Paris. I sent him a silent greeting, Bless your hairy bum, oh hairy bum, but kept a comfortable distance. Richard leaned over the quai to snap an overhead shot of a group of young people having a picnic. Below them at the edge of the Seine, I watched six ducks in a row, as if in line at Poilâne Bakery. I peered out over the murky Seine and sure enough, a man with his head submerged was struggling back to the quay with choppy strokes.
He seemed to be having trouble lifting himself out of the water onto the steps of the quai.
He glanced up, and seemed to be scanning for any watching females who might be impressed. Two young women in sundresses and sandals passed speaking American English, their arms around each other’s waists, and stopped at the corner near the bridge.
Darling Anna,We do look at the world through magic eyes, because the world IS a magical place, as you, too, well know! Jess am Filmset von "Die wilden Kerle" "Alles ist gut, solange du wild bist" lautet das Motto der "Wilden Kerle".

Der in den USA und Kanada produzierte Film schildert den Aufstieg Adolf Hitlers von seiner Kindheit und Jugend in A–sterreich, seinen Erfahrungen im 1. Screening as part of a series of debut works by young French filmmakers, Day (Rives) follows three characters as they navigate the city on a single, autumn day. Rhythmic series of facial close-ups in shallow focus stress the penetrating, almost surreal, isolation of each protagonist. Avec l'envie d'observer le monde, de regarder les gens, de capter un regard, de ressentir des sensations nouvelles, d'explorer plus encore les quartiers d'une ville.
They dona€™t know each other and they wona€™t cross paths, but they share an insidious feeling of confinement. He then hauls in the bow line for an unforgettable tour of the river itself from its source to its mouth. Pierre, the truant, traverses Parisa€™s beaux quartiers in an affectless daydream, his somber mien a pointed contrast to the euphoric escapes of Truffauta€™s adolescent Antoine Doinel.
Because of an external event, each of them will leave their environment and undergo an experience that confronts them with the uncomfortable and dangerous dimensions of their shared urban space. The Secret Life of the Seine is a love story between man and boat and the river that they live on, a discourse on the sensual beauty of France and the art of living well. He was trim, perhaps in his 40s, sun-weathered, with a leaping panther tattooed above his heart.
I would like to have heard his story, but he didn't invite conversation, was a bit too drunk for that.
Bianca, a Czech Erasmus student, drifts distractedly from lecture to her job at a call center, then back to an empty apartment, passing indefinite hours transferring between metro lines.
Their connections with others thwarted, the three fold inward on themselves, choosing to dwell in interior worlds. La blessure de Thalat est la coupure de l'exil, la blessure d'amour propre, ou de l'amour tout court qu'un faux briquet en gadget lui projette sous l'image d'une pin-up nue. Through its patient observation of the quotidian, of the passage of time from morning to night, Day reacquaints us with the strangeness of everyday life. In the tradition of A Year in Provence, Under the Tuscan Sun, and Paris to the Moon, here is what Garry Trudeau called "a moveable feast [with] a top speed of five knotsA—fast enough for fun, languid enough for dreaming.

In the tradition of A Year in Provence, Under the Tuscan Sun, and Paris to the Moon, here is what Garry Trudeau called 'a moveable feast [with] a top speed of five knotsA—fast enough for fun, languid enough for dreaming. Thalat, a Pakistani emigrant, scrapes by as a delivery boy, his afternoon an iterated encounter with Parisians whose language he cannot comprehend. Each finds pleasure in fleeting aesthetic details: the contoured wisps of smoke from a found cigarette, the daubed flitting of light across darkened water, or the dilation of warm breath atop cool glass.
TrA?s peu de dialogues, pas mal de musique et une image qui scintille comme neige au soleil. Portrayed with sensitive, understated naturalism by amateur actors, the three never meet, save for in an undefined dream spacea€”that of the filma€™s titular cognate, rA?vesa€”which features in three brief sequences. Their attentive look at the world around them seems a metaphor for Hostioua€™s directorial project, which eschews ordered narratives for evocative, lingering glimpses. Autrement ditA : la perception des choses, leur connaissance, est une histoire de perspective.
La ville comme polis, l'endroit du social, le lieu du politique, existe mais sourdement, au-dessous d'une ligne de flottaison.
Structured as a succession of elliptical, undramatic moments, their days unfold through indirection. Dialogue is largely absenta€”Pierre, for his part, never speaksa€”the citya€™s ambient hum periodically bracketed by electro-pop from Biancaa€™s iPod, which we hear only when she does.
Even seen-it-all Parisians kept sneaking peeks at his big furry butt, which at least was covered half an inch down the crack by what seemed to be a pair of cowboy chaps. Etrangers face A  notre propre quotidien, celui-ci ne nous semble plus si familierA ; au contraire, il nous surprend, nous effraie, nous amuse. Lorsque Bianca intercepte un regard c'est dans le miroir, comme si elle s'assurait par lA  que ce visage est bien le sien.
Dans le film, chaque instant devient alors crucialA : un pas de plus dans la vie, un pas de plus vers la mort.

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