Paris, 13th District

At first, I thought it was going to be a threesome movie like "LOVE" I was wrong, but it felt good. I liked it. I think it was better than Hollywood melodramas!

I liked the way it was made. B&W shots, simple soundtracks, and the storyline.

Serious vitality present in this piece probably just the lifeforce of the sexual drive of mankind

Those millennials here live in a very bleak world ruled by necessity survival greed selfishness in a way which previous generations can only gawp at in disbelief

It can be best summarized in the question "Is this what it has come to?" The answer is seemingly yes

Relationships are commercial transaction or shadows of that; an ersatz for human interraction; what did we seriously expect after 40 years of Neoliberalism? A more caring way of relating .... these are folks who know nothing but precariousness of work and relationships; a subtle urban brutality is written in their daily wherever they look add to that the digital alienation which is the wallpaper and in some ways the blueprint of their lives .... nothing else could have come out of all this

It is a beautiful depiction of this milieu this section of the population; the 13th Arrondissement of Paris looks more like Saõ Paulo or Shanghai than it does Paris

The truly bilingual and bicultural reality of the main character here Émilie is awesome to watch the switching between the 2 worlds between Voltaire and Kong Fu Tzu without even a blink. All the actors here are excellent and Audiart the son has produced yet another minor masterpiece like The Prophet he made a few years back. Here it is a Parisian Love story for the 21st century.

A call center representative, teacher, real estate agent, and online webcam model somehow find their lives coming together in the new Jacques Audiard film, "Paris 13th District" ("Les Olympiades").

Audiard has taken a special interest in the lives of resilient people set within his native country. The films "Dheepan" and "A Prophet '' don't showcase France at its best, instead, they shine a light on the many problems Audiard sees. After taking a detour into the English-language for the unfairly ignored "The Sisters Brothers'', Audiard (along with co-writer Céline Sciamma of "Portrait of a Lady on Fire'' fame) once again sets his sights on modern French society, this time through the gaze of not one, but four main characters.

Our protagonists (or antagonists depending on your viewpoint) all reside within the titular district of Paris, a highly populated sector known for its mixture of modern and traditional architecture. Émilie is a phone operator at a cell phone service call center who is stuck in a rut both professionally and romantically. She's a disappointment to her Taiwanese immigrant parents, who often call to tell her about her sister's experience as a doctor in England. Luckily, her romantic prospects improve by the arrival of Camille, a lonely school teacher who is inquiring about the vacant room in her apartment. Carnal feelings impulsively take over their relationship, something Émilie prefers as she lives by the motto "fuc* first, talk later."

At the same time, Nora is a real estate agent trying to reinvent herself by going back to school, despite being a dozen years older than her fellow students. Further compounding her misfit status is her striking resemblance to famous webcam model Amber Sweet. She soon receives the unwanted attention of lustful boys, forcing her to retreat from academic prospects. With morbid curiosity, Nora decides to meet her doppleganger and see if they share anything besides just looks.

Like Paul Thomas Anderson in "Magnolia" or Robert Altman in "Short Cuts", Audiard acts as a puppet master, crossing and pulling the strings of his characters. Being that there are only four main characters compared to dozens within Anderson and Altman's films, the interactions are more frequent. Audiard is interested in exploring the idea of opposites attracting, which brings out both the best and worst in each other.

These characters carry a lot of baggage with them, which often gets saddled onto their partner in an acrimonious fashion. Audiard and Sciamma take an authentic approach to these moments, with characters getting in heated arguments that sometimes lead to break-ups, and sometimes lead to sex. The film is quite sexually explicit, with each actor bearing it all for the black-and-white screen. Except for the exceptional Noémie Merlant, the cast consists of relative unknowns, a fact that never crossed my mind as they have the chops of veterans.

Speaking of black-and-white, the grainy cinematography by Paul Guillaume strips down the film to its rawest form. Like Sam Levinson's "Malcolm & Marie", the lack of color works to center our focus on the actors and their condensed surroundings.

While the beautiful cinematography could be guessed from still images, what is most surprising is the great electronic score by French musical artist Rone. Mixing pop beats with fluttery strings, the score embodies the clash between modernity and tradition that is present within the characters and the city itself.

Not without its problems, "Paris 13th District" often gets too attached to the trio of Émilie, Camille, and Nora, leaving Amber to a lower supporting status, despite her having the only sequence of the film shot in color. Frustratingly, Jehnny Beth's great work as the most interesting character isn't given the attention that most surely deserves.

As filled with millennial insight as it is filled with nudity, "Paris 13th District" is a lighter affair from the dependable Jacques Audiard. Barring a few small setbacks within the script, the film is an arthouse delight that will connect with younger viewers, possibly more than they want it to.

The setting is Paris, 13th district. Youth culture. The fast life of millennials. Aspirations. Vanity. Egotistic admiration of one's idealised self-image and attributes. Sex. Love. Loneliness.

Written and directed by the veteran French filmmaker Jacques Audiard and shot predominantly in black-and-white monochrome, Les Olympiades, Paris 13e (2021) is adapted from three interweaving stories about sex and love by the American comic book artist Adrian Tomine.

The film is about the hope (and hopelessness) of being a millennial and trying to find your place in this fast-moving world.

It's excruciating having on your laptop the video file for a film you're dying to see but not having the subtitles for it. - 2022 goal: learn French. - Today, someone, God bless his soul, uploaded the English subs for the movie, and I finally got to watch it.

A beautiful film! A candid and unreserved look at love life in the early thirties, portrayed brilliantly by an - Merlant excluded - unknown cast. What I loved the most here was how the film floats around from one character to the other, detaching you in a way from them, but that worked so well in creating a cozy, calming atmosphere where you can enjoy the movie without getting too emotionally attached with any of them. Audiard takes you and puts you into a place where you can't "get hurt" by connecting too deeply or caring a lot for a character while at the same time telling a story that's supposed to do that to you. That alone, I think it's incredible to pull off, but Jacques managed to do so with flying colors. Here we got, essentially, the tearless, color-deprived version of last year's 'The Worst Person in the World' (plus through some "online dating" perspective into it). 'Paris, 13th District' was a comfortable watch for me, and I think it's a film I'll revisit because, again, I found it extremely relaxing. And with that, I don't mean there weren't moments I didn't have an emotional response to what I saw. The emotions are there, especially in the end. They just don't hit you like Hiroshima.