a remarkable movie. for the memories about the New Wave and Bergman's dramas. for the inspired choice for the leading roles - Duris and Garell. for the atmosphere. and for the profound delicacy to build the story as a puzzle with many solutions. a film about family, love siblings relations, solitude , redemption and certitudes. a film of words more than images because the words, in this case, as parts of dramatic gestures, confuse escapes. simple, fresh, direct, seductive for the science to transform different ingredients in a precise fresco of crisis. like each good film, an experience. useful not only at artistic level.

I liked Love Songs (Les Chansons d'amour); wasn't thrilled with My Mother (Ma mère); this film, also by writer/director Christophe Honoré, and based upon J. D. Salinger's Franny and Zooey fits in between the two.Paul (Romain Duris) is a real jerk. This may be a typical French male, but I have no sympathy for him. His girlfriend Anna (Joana Preiss) breaks up with him, and he returns to Paris to live with his father (Guy Marchand) and brother (Louis Garrel). He is in a deep depression over the breakup and makes life miserable for everyone. Everyone except his younger brother, who seems to enjoy his life and loves.While Paul sits home moping, Jonathan (Garrell) is heading to Bon Marche. It's a long journey as he has to stop frequently along the way to screws every woman (Héléna Noguerra, Judith El Zein, & Annabelle Hettmann) he meets. Along the journey, he keeps calling his brother to join him. No luck. he revels in his nasty mood.Marchand, as the father turns in the best performance of the film.

Paul(Romain Duris) can't live with or without Anna(Joana Preiss). Jonathan(Louis Garrel) broke the fourth wall in the opening moments of "Dans Paris" and announces that the movie won't have a narrator. He's not the main character; Paul is, according to Jonathan. The narrator is lying. Jonathan's the main character because "Dans Paris" is about narration. Like most films, "Dans Paris" will proceed with omniscient narration. Unlike most films, however, the audience isn't made aware of this given. There's a tacit agreement between the filmmaker and moviegoer that the film begins where the backstory leaves off. But Jonathan speaks directly to the camera, forcing the viewer out of his passive stance. Jonathan isn't Paul's big brother, but he is "big brother" in the Orwellian sense of the word. Jonathan is literally, the omniscient narrator."Dans Paris" breaks down its story into two sections: Paul with Anna, and Paul without Anna. This compartmentalization extends to the mode of narration. When Paul and Anna are together, "Dans Paris" records their relationship in a non-linear fashion. When they're apart, the story becomes more sequential in its telling. The first part is told in non-sequential order because Jonathan picks and chooses what interests him the most; not surprisingly, most of the scenes feature Anna in a state of undress. Personal hygiene, or the lack of personal hygiene, is a subject that Anna broaches when Paul leaves their bed to take a shower. Anna believes Paul is leading by example. Paul's decision to lather up, Anna thinks, is tied in to the hope that she'll follow suit. Accused of being rank in a passive-aggressive fashion, Anna flips her lid. Since it's unlikely that Paul would share this moment with Jonathan, the viewer is led to believe that the younger brother is a filmic interloper, the camera's eye in the flesh. When Jonathan bumps into an old flame, this ex-lover cites personal hygiene for their break-up. In other words, "Dans Paris" has echoes. If Jonathan "controls the vertical and the horizontal", he controls the story of his life that's being narrated. Three women in one day, hmmm. We see it. But we see what he wants us to see.A cursory glance at "Dans Paris" suggests that this neo-French New Waver is about a sad man who lost his girlfriend, but if you're attuned to the self-reflexive opening, you'll understand that it's really about narration.

I saw many movies in Cannes last month and this was one of them. I was impressed by the performances of leads Romain Duris and Louis Garrel, who play brothers. Garrel narrates the story of his brother Duris who leaves Paris to live in the province with his girlfriend and her son.I saw director Christophe Honoré's last movie Ma mère starring the always great Isabelle Huppert also in Cannes two years ago and was very disappointed, even if I liked all the actors in that movie. However, this was a much better developed movie that shows more promise. Dans Paris also reunites two actors from that last movie of Honoré, Louis Garrel and Joanna Preiss.The influence of New Wave director Truffaut is obvious and sometimes, Louis Garrel reminded me of a young Antoine Doinel (Jean-Pierre Léaud). What I liked the most about this movie is that the plot is not like the typical Hollywood movie. It is about the emotions and relations of these brothers, their father and the other people in their lives. It will come out in France in October. I hope it shows in other countries too, because it is a worthy film. Maybe in the states it will come out on DVD at least.