A film about Paris.

"Paris, I Love You" was the opening film of a concern unit at last year's Cannes Film Festival. The producer invited 2 1 world-renowned directors to shoot 18 5-minute short films in Paris 18. The form is a bit like ten minutes four years ago. The difference is that the directors invited in those years were all famous artists, and the theme was the philosophical concept of "time". It is inevitable that great directors will secretly compete with each other, and the tone of the whole film is relatively heavy. Nowadays, the theme has been changed to "love", a popular literary form. The directors are much more enthusiastic, and the film atmosphere is relaxed and lively. To put it simply, the directors in those days were all devoted to art, and now everyone's mentality tends to engage in art.

Because the time of the film was shortened to 5 minutes and the location was limited to a certain district in Paris, most directors chose to tell stories honestly. Perhaps not as artistic as Ten Minutes of Age, but more interesting. The first part of the opening is Montmartre. A middle-aged man drives aimlessly through an alley in Montmartre Heights, watching passers-by through the rearview mirror, and then a woman accidentally faints next to his car. After a simple and embarrassing conversation, a ray of simple sunshine is projected under the clouds in Paris, illuminating a possible love.

The Seine in the second paragraph may be the best one, if it is not a little more preaching. A black man, an Arab man, a white man and three young men were sitting idly by the Seine, making trouble with girls passing by. An Arab girl giggled and tripped over a stone when she left, causing a burst of laughter. The white boy rushed to help her. The clumsy action of boys helping girls wear headscarves is probably the embodiment of ethnic differences, but the explanation of headscarves by girls is obviously the political preaching of the director, which is a bit abrupt here. Later, the boy waited for the girl and her grandfather outside the mosque. The old man didn't reject the white children. The three of them walked along the Seine River in Paris. The fly in the ointment is that the director's desire for racial harmony is superficial, and it may be better if he simply tells a simple love story.

The strangest passage comes from the Mare by Garth van Sant. The film inexplicably sets up a language barrier between an American and a French English translator, which makes people puzzled. In addition, such homosexual love at first sight lacks the necessary persuasiveness and the story is not attractive. In short, it is a relatively weak one.

At Tuileries Palace, the Cohen brothers continued their usual black humor style. An American tourist accidentally saw two French youths kissing while waiting for the subway, but was scolded by a grumpy boy. The girl was dissatisfied with her lover's performance and ran to the innocent tourist french kiss to demonstrate. The boy beat up the tourists in a rage, and they got back together after venting their anger. This performance is not lost.

Walter Seles, Brazil Director of Central Station, brought the softest chapter-stay away from the 16 area. Immigrant Anna has a lovely child. One morning, she sent her child to a kindergarten in Palace x * *, and when she left, she sang a beautiful lullaby to the child affectionately until the child fell asleep. Then she drove the bus to the distant rich area and entered an upscale apartment building. She came to look after other people's children. Facing the crying baby, Anna sang the same lullaby, but her face lost love. Her eyes also looked out of the window in the direction of her child.

Attached with a list of directors (segment directors, namely Paris 18):

Olivier Assayas (Branch "Red Children's Zone")

Frédéric Auburtin (fragment "the fourth Latin") (transition)

Emmanuel benbihy (transition)

Gurinder Chadha (Seine River Pier Section)

Sylvain chomet (clip "Eiffel Tower")

Ethan Coen (Tuileries Palace)

Joel Coen (Tuileries Palace)

Isabel coixet (Bastille section)

Wes Craven (part of "Father Rasheed")

Alfonso Cuarón (part of "Monso Park")

Gérard Depardieu (market segment "fourth quarter Latin")

Du Kefeng (part of "Choisy Gate")

Richard LaGravenese (clip "Pigalle")

Vincenzo Natali (clip "Madeleine Square")

Alexander payne (Section "/KLOC-Area 0/4")

Bruno Podalydès (Montmartre market segment)

Walter Salles (leg "Loin du 16ème")

Oliver schmitz (Market segment "Food Plaza")

Nobuhiro Suwa (Market segment "Victoria Plaza")

Daniela thomas (leg "Loin du 16ème")

Tom tykwer (part of the "suburb of Saint-Denis")

Gus van sant (clip "Male")