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Chicago – The notoriously confounding new film from Jean-Luc Godard baffled many critics during its 2010 premiere at Cannes. The legendary director was conspicuously absent from the festival, leading some to believe that his refusal to give interviews was reflected in the film’s final title card, “No Comment.” Yet after a careful analysis of “Film Socialisme,” it’s clear that Godard has plenty to say.

This is the sort of picture that functions more as a two-hour museum projection than a feature film. It’s bound to transfix some onlookers, while quickly repelling others into the next room. As a call for unity in the Mediterranean, Godard runs the risk of alienating the very people he intends to reach with his message. Only film buffs and Godard experts will be able to piece together this fragmented collage after an initial viewing. Everyone else will have to do their homework, but I...

Once in a while, one has to try something new when it comes to films. Unlike Toronto Stories, which is another anthology movie I'd recommend, Paris, je t'aime uses a rather different approach while showing as much audacity as its Canadian counterpart. All in all, the film is a rather enjoyable gem.

First of all, to put it shortly, Paris, je t'aime uses 18 short segments directed by internationally acclaimed directors. Of course, each segment takes place in a different district of Paris. In each segment, the directors, through their own vision, offer their own interpretation of the meaning of love in none other than the most romantic city in the world.

Obviously, the first praise that you'd like to offer for this film is certainly its photography. Without looking like a postal card, Paris, je t'aime has no difficulty to capture the city's beauty in order to fit it into...