In the mood for a clean Maggie Cheung

Clean (2004): 2/5

Do what mommy does

Oliver Assayas directs Maggie Cheung in this horribly disjointed story about drugs and coming, well, Clean. I saw this film on the French Film Festival in Shangri-La, and I think I can say that I’ve seen this film more than a thousand times already due to the endless cliches and exhausted storyline. Perhaps it’s the worn-out rock and roll junkie story we’re tired of hearing, or the sketchy characterization. Or Nick Nolte’s resounding Hulk performance. Or maybe just bad storytelling set to a global backdrop.

Yet somehow ‘Clean’ manages to transform from a seemingly meaningless film into something of substance. Maybe it’s because of the soundtrack. Or maybe because of Maggie Cheung. Yes, we’re definitely in the mood for Maggie Cheung.

Playing your (french) horn right

Changement d'adresse (2006)

Changement d’adresse (2006): 4/5

Changement d’adresse aka Change of Address is a weirdo slice of life story, mainly about David, a French horn instructor and Anne who runs a copy shop. He is an uptight, frustrated romantic, while she is free-spirited on the brink of insanity.

Laughable scenes go about the pair in the film’s first act with endless innuendos (“Can I see your french horn?”). While the audience (myself included) found hilarity in the oddnesss of the 2 offbeat characters, the second act seems to grudgingly drag with the new additional ones. As the fun fades away, so does David and Anne’s potential romance. Moods dampen and things get boring (for the film’s characters and the viewers). But a few boom mic appearances and changes of address later, friendship and romance is rekindled as we’re brought back to the original tandem. Fun times are back again as this film ends with an inevitable closing scene which evoked a lot of awe. No wait, I meant ‘awwwww’. Falls into the guilty pleasure pile, this one.

Love songs love

Les Chansons d' Amour (2007)

Les Chansons d’Amour (2007): 5/5

Three's a crowd

This movie is all about what the title says- Long Songs! Songs that sing about love and all the beautiful cliches that go with it. Yes it’s the whole gamut surrounding that notorious, infamous, nauseating, bittersweet 4 letter word, but quite suprisingly I don’t hear (or read) anyone profess in the entirety of the film. A movie that bears similarities to Moulin Rouge for being another musical all about well, love, the message we’re transmitted in Chansons encompasses the former movie’s and brings a sweet dimension to the not-so-new mumbo jumbo concept of love and relationships (or the lack thereof).

I only know about ten words in French but Les Chansons d’Amour speaks (rather, sings) a language clearer to me than any of the hundreds of other trying hard lovey-dovey flicks out there. It’s the kind of movie you develop an intense crush on, the kind you want to see more of, the kind that makes your entire day after a mere glimpse, the kind you want to get to know better. I realise I might be a bit biased with liking this film because of that beautiful creature Louis Garrel in it, but Les Chansons d’Amour is the kind of movie that stays with you. It warmed the cockles of my heart, this movie did (oh Woody!) and I know it’s been quoted plenty of times but I just have to say it: Love me less, but love me a long time.

I Dream of Louis Garrel

The Dreamers (2003)

The Dreamers (2003): 5/5

Bertolucci’s The Dreamers comes off as the ultimate artsy/love/sex/revolution type of movie but truth be told it’s so much more than that. Bursting with symbolism and draped with layers and layers of meaning, The Dreamers is about a young American student studying in Paris in the 60’s as he strikes up a unique friendship with a French brother and sister. It’s set to the background of the student protests but the drama unfolds away from the riots and into the lives of the three characters played by Michael Pitt, Eva Green, and Louis Garrel.

It’s nostalgic and highly picturesque. Bertolucci is amazing for showing us such a side of alienation that we can’t even imagine. I especially love the examination of the cinephile- how its attachment to images keeps them from growth and from the future. It makes sense, it all makes sense!