Cosmos

This movie is a perfect example of the use of film as an artistic expression. It is different, and should thus be seen with an open-mind. There are different writers/directors for different part of the film and I must say that some are better than others (If they were all at the same level, it would easily receive a 10/10). The pace is generally slow, but appropriate silences and the singular contribution of black & white color (or lack thereof) assure that you pay attention to what's going on. One director experiments with unusual camera angles quite successfully. The dialogue in every piece is spectacular, giving both a realistic portrayal of characters and a very intelligent analysis of society. The storytelling aspect is somewhat inferior, but this can be expected with the miss-match of barely related stories. Plus it makes up more than enough in content. The acting is generally good, but I must point out the delightful performance of Marc Jeanty, who makes the perky ending of the movie worth the wait.

The stories are simple in themselves, but explore in depth vital aspects of contemporary humanity. The tone is nonchalant, but the underlining reflections are quite a propos. There may sometimes seem to be no links between the stories, but that may very well be the point. Everyone lives their lives independently, and only rarely are paths crossed...

This movie will by-in-large make you think, make you appreciate something artistically different, and even make you laugh whole-heartedly in this well orchestrated symbiosis of ideas.

"Cosmos" is one of the rare anthology films where its composite nature strengthens, rather than detracts from, its cohesion and identity as an artistic work. Six stories are presented, all happening in Montreal but otherwise seemingly unrelated. In each story is an appearance by the cab driver Cosmos, and there are occasional glimpses of other stories' characters, providing a framework to bind them together. But each story also deals with themes of separation or disjointedness; either from society, loved ones, or within the characters themselves. There are also chance meetings and coincidences that occur throughout, bringing unlikely combinations of people together. The characters, like the six stories, are distinct and separate but also tenuously and unmistakably linked.

"Cosmos" is a film of great humour, pathos, poignancy, wit, even zany slapstick. I have seen precious few films like this one and recommend it heartily.

COSMOS is the prototype of an art-house film. Cerebral, full of nuances, this Canadian film (in Quebecois with English subtitles) shows us bits of Montreal's "cosmos". Developed through sixsomewhat related vignettes, four of them involve a Greek taxi driver (apparently inspiring the film's title). The beautiful black and white cinematography sets just the right tone for these slice of life depictions. I definitely recommended it for "art-house cinema" aficionados.

Not all segments are at the same quality, but there's a simplistic beauty to how each story blends together. A mix of genres that present a character study in an interesting way with good camerawork, use of black & white, & solid tone.

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. Not all segments are at the same quality, but there's a simplistic beauty to how each story blends together. A mix of genres that present a character study in an interesting way with good camerawork, use of black & white, & solid tone.

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. Not all segments are at the same quality, but there's a simplistic beauty to how each story blends together. A mix of genres that present a character study in an interesting way with good camerawork, use of black & white, & solid tone.

This being my second, more in depth, review of this film, I decided to break it down by director (and oftentimes also writer). Although the segments are not all clearly cut from one and other (some segments are separated and shown intermingled with others, editing-wise), they can be distinguished by the different characters and storyline.

Before I break it down however, I have to say that besides being the most prolific writer/director of the bunch, André Turpin was also the cinematographer for the whole movie and did a magnificent job with his black and white canvas.

1. Manon Briand (segment "Boost")

Containing probably the best line of the movie (Cars are like women: yesterday "yes", today "no"), this segment is rather dry, long and seems to go nowhere, which is actually where it ends up going. Forgettable, or worst yet, useless but stuck in your head. Disappointing, especially compared to Briand's very good later work ("2 secondes" and "La Turbulence des fluides")

2. Marie-Julie Dallaire (segment "L'individu")

Good use of camera. Slightly intriguing. Vague and elusive. No real conclusion. Not much dialogue. Open and may lead to some reflections. Imagery is once again the best part (André Turpin).

3. Denis Villeneuve (segment "Le Technétium")

Different. Shows that substance is gradually losing to appearance. Interesting look at modern life, arts, the underground circuits, the craze of Internet, fashion and the medias. Good acting by David La Haye.

4. André Turpin (segment "Jules & Fanny")

Best segment. Interesting situation and twists. Best dialogue. Look on modern life, morality, sex, fake breasts and old relationships. Simple, but very effective. Great use of tension/anticipation. Superb acting. Intense.

5. Jennifer Alleyn (segment "Aurore & Crépuscule")

Younger girl and older man. Innocent. Cute. The pool scene could have been cut out, but that's about it.

6. Arto Paragamian (segment "Cosmos & Agriculture")

Funny. Weird. Funny. Slightly philosophical.



All in all remember that a lot is said in this movie and there are many messages to take home and other points to start pondering. Long at parts, but ultimately satisfying.