Paris-pectives (Paris, Je T’aime)

24 May

A kaleidoscope viewed from the inside and out, offering us many different perspectives in seeing what's in store for us.

Ending the semester with Paris, Je T’aime was the perfect way to cap off the first film class I have ever taken. With its nature being an anthology, I appreciated the fact that this film celebrated the many different styles of renowned directors, fusing all these short films into one great spectacle. Through Paris, Je T’aime, I was able to have a deeper appreciation of how every film has a unique way of conveying its own message.

The whole week since Thursday, my friends and I have shared links on Facebook carrying the theme song of the movie. I had it on loop last Friday because I just can’t get over how much the film created an impact on me! From the stories to the dialogs to the soundtrack of Paris, Je T’aime, everything simply fell into the right place.

My favorite sequences from the movie were the ones who involved a child in them. The first one was Parc Monceau (grandfather and baby Gaspard) and the second one was Loin Du 16 (mother and two babies). These particular sequences hit me the most because they are the truest form of love that is often neglected. Nowadays, when people talk about great love stories, they often refer to that of romantic affairs. Only a few of these kinds discussions pertain to the unconditional love of fathers and mothers, alike.

It is quite interesting for me to realize that since short films are restricted by the element of time, they must work with the little they have to get their point across. In Parc Monceau, the essential tool use was the well-written script. I like how it was written like a book that compels you to flip towards the next page right away. Through the power of toying around with words, it was able to create a conflict, climax and resolution all rolled up into an intense 5-minute run. This made me think about how some movies have the potential to be good ones, but are ruined by the neglect for a good script. Another well played short despite its time restrictions was Loin Du 16. Considering that it was bound by a script that was no less than a few phrases thrown around by the characters, it still was able to present us with a striking idea. What made this special was the shot sequences, allowing the audience to feel the distance between mother and child & the instinctive longing for one’s own offspring.

It is amazing to think about how these anthologies were able to present themselves to us in a way regular films would do. I never would have imagined that even though some theatric elements were lost (e.g. duration/time alloted, dialog/script, etc.), most, if not all, the films in Paris, Je T’aime are successful in their own little ways. There hasn’t been a film I’ve seen in a long time that allowed me to feel different kinds of emotions in one sitting — love, anger, confusion, hope and sadness. All these were constantly coming and going as the movie progressed. It kept me spinning around, with me almost losing my balance while trying to keep up with the surges of feelings that entered my mind.

Paris, Je T’aime almost made me break down. Just like how many little pieces complete the story of love, I guess it’s safe to say that the film also left me in pieces — pieces that are more open to different perspectives, pieces that celebrate life in a multitude of ways, and pieces that learned to understand the twists and angles of our distorted realities no matter how difficult they could be.

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Posted by on 24 May 2011 in Uncategorized


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