list http://www.spout.com/ Recent community activity around 2 Days in Paris on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/2_Days_in_Paris/289934/default.aspx Title: 2 Days in Paris
Year: 2007
Director: Julie Delpy
Plot: Engenue Julie Delpy does triple-duty as writer, director and star of this romantic comedy. French photographer Marion (Delpy) and American interior designer Jack (Adam Goldberg) are returning from a vacation in Venice. Despite the fact that it was supposed to be the ultimate romantic getaway, disagreements and misunderstandings seemed to drive them farther apart rather than bringing them closer together. Before they return to the United States, Marion and Jack have a quick two-day stop in Paris to visit Marion's parents and pick up the cat that they had been pet-setting for their daughter. Unfortunately for Jack, Paris proves to be quite a culture shock. Not only are Marion's parents a pair of eccentric former "revolutionaries" who make no qualms about having knock-down-drag-out arguments regardless of who's present, but they also appear to have a particular distaste for Americans. Add to this the fact that Marion's friends hold nothing back when it comes to discussing their sexual lives, seem fixated on food rituals, and that Marion seems to run into former lovers on every street corner, and Jack quickly begins to suspect that he doesn't know his girlfriend half as well as he thought he did when they were living the simple life back in New York. ~ Jason Buchanan, All Movie Guide
Times Tagged: 17
Number of Lists: 11
Number of blog posts: 74
Number of discussion threads: 1
SpoutRating: 3
]]>Sun, 08 Feb 2009 19:03:57 GMT2 Days in Paris2007Julie DelpyEngenue <a href="/players/P____18491/default.aspx" style='text-decoration:underline'>Julie Delpy</a> does triple-duty as writer, director and star of this romantic comedy. French photographer Marion (Delpy) and American interior designer Jack (<a href="/players/P____27423/default.aspx" style='text-decoration:underline'>Adam Goldberg</a>) are returning from a vacation in Venice. Despite the fact that it was supposed to be the ultimate romantic getaway, disagreements and misunderstandings seemed to drive them farther apart rather than bringing them closer together. Before they return to the United States, Marion and Jack have a quick two-day stop in Paris to visit Marion's parents and pick up the cat that they had been pet-setting for their daughter. Unfortunately for Jack, Paris proves to be quite a culture shock. Not only are Marion's parents a pair of eccentric former "revolutionaries" who make no qualms about having knock-down-drag-out arguments regardless of who's present, but they also appear to have a particular distaste for Americans. Add to this the fact that Marion's friends hold nothing back when it comes to discussing their sexual lives, seem fixated on food rituals, and that Marion seems to run into former lovers on every street corner, and Jack quickly begins to suspect that he doesn't know his girlfriend half as well as he thought he did when they were living the simple life back in New York. ~ Jason Buchanan, All Movie Guide17Tag Target (>10)117413http://www.spout.com/ProductImages/s289934.jpghttp://www.spout.com/films/2_Days_in_Paris/289934/default.aspxFilm http://www.spout.com/blogs/christhilk/archive/2008/12/31/39014.aspx Post By: ChrisThilk
Post To: ChrisThilk Blog
Post Date: 12/31/2008 7:01:57 PM
Body: French beauty Julie Delpy wrote and directed 2 Days in Paris, so it’s not that big a surprise that it winds up playing a lot like Before/After Sunrise. That’s not to say it mimics the formula from those films entirely, just that it carries the same sort of attitude. In 2DIP, Delpy plays one half of a couple who, after vacationing in Venice and other parts of Europe, stop by her parent’s home in Paris. This of course leads to all sorts of problems between her and her boyfriend (played by Adam Goldberg) as they run into some of her exes and otherwise find their relationship tested by being on ground that’s at once familiar and not so much. It’s a loose, natural film with good performances from both the leads that gets you involved in their characters and their well-being. Well worth checking out if you’re a fan of walking-and-talking type movies about relationships.        Originally posted on:Chris Thilk
]]>Thu, 01 Jan 2009 00:01:57 GMTChrisThilkChrisThilk Blog12/31/2008 7:01:57 PMFrench beauty Julie Delpy wrote and directed 2 Days in Paris, so it’s not that big a surprise that it winds up playing a lot like Before/After Sunrise. That’s not to say it mimics the formula from those films entirely, just that it carries the same sort of attitude. In 2DIP, Delpy plays one half of a couple who, after vacationing in Venice and other parts of Europe, stop by her parent’s home in Paris. This of course leads to all sorts of problems between her and her boyfriend (played by Adam Goldberg) as they run into some of her exes and otherwise find their relationship tested by being on ground that’s at once familiar and not so much. It’s a loose, natural film with good performances from both the leads that gets you involved in their characters and their well-being. Well worth checking out if you’re a fan of walking-and-talking type movies about relationships.        Originally posted on:Chris Thilk http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_August_4_Let_s_Talk_About_Sex/625/33602/1/ShowPost.aspx Post By: indieabby88
Post To: Weekly Theme
Post Date: 8/5/2008 11:11:53 PM
Body: The timing on this discussion could not be more perfect! I just finished watching "2 Days in Paris," which I loved. A great, funny movie about sex, relationships and how much you really know about the person that you're with. It's not just about sex, but about everything that goes into it and everything that it represents. The paranoia, the fear of rejection, the repercussions that old partners and experiences have on new ones...It's all there. Watch it, if you haven't.
]]>Wed, 06 Aug 2008 03:11:53 GMTindieabby88Weekly Theme8/5/2008 11:11:53 PMThe timing on this discussion could not be more perfect! I just finished watching "2 Days in Paris," which I loved. A great, funny movie about sex, relationships and how much you really know about the person that you're with. It's not just about sex, but about everything that goes into it and everything that it represents. The paranoia, the fear of rejection, the repercussions that old partners and experiences have on new ones...It's all there. Watch it, if you haven't. http://www.spout.com/blogs/jimbell/archive/2008/4/12/27238.aspx Post By: JimBell
Post To: JimBell Blog
Post Date: 4/12/2008 4:16:40 AM
Body: 2 Days in Paris (2007)—Could Judy Delpy (writer and director) learn anything from an old dead white guy, William Shakespeare? Lets compare the opening of 2 Days in Paris with one of William Shakespeare’s lesser plays (it was not even printed in his life time), a love story and comedy called As You Like It. The first day in Paris opens with Jack and Marion, a “couple,” catching a cab. The line up is long. Jack tells a huge group of fellow Americans how to get to the Louvre, so they leave the line, but he has misdirected them so that he can get to the front of the cab line. Marion finds this endearing. Arriving at the house, Jack, a New York interior designer, meets Marion’s flamboyant French mother, and he sort of helps Marion lug her suitcase up stairs. He criticizes her old bedroom and freaks out about mold in the bathroom—this designer is a hypochondriac. Marion looks bedraggled and explains how weird she was as a kid growing up in Paris. Are you interested? Ready for more? As You Like It opens with Orlando complaining bitterly that since his father died, his older brother has kept everything for himself, not even allowing Orlando to be educated, but instead using him as a beast of burden in the orchard. Orlando has had enough, argues with his older brother, fights, and extracts a promise that he will get part of his inheritance and his freedom. But the older brother vows to keep the money and take revenge on the young upstart. The perfect opportunity springs to mind when Charles, a wrestler who leaves opponents broken, laments to the older brother that Orlando has signed up to wrestle him. The older brother says break him. The second scene sees the beautiful and vivacious Celia (the usurping Duke’s daughter) and her best friend, Rosalind (the daughter of the rightful Duke who has been deposed) engaged in hilarious conversation. To cheer Rosalind up, Celia initiates a “sport” of witticisms. Before this repartee dies down, in walks Touchstone the Fool with a great joke or riddle to add to the fun. When Rosalind and Celia watch the wrestling, Orlando unexpectedly wins, and Rosalind is quite taken with him and vice versa. Instant chemistry. But scene three opens with the Duke banishing Rosalind. She is distraught until Celia comes up with a plan to run away with her to the Forest of Arden where the exiles are living. Are you interested? Ready for more? More happens--with more interesting peope--in the first three scenes (not Acts!) of As You Like It than in the entire movie 2 Days in Paris.
]]>Sat, 12 Apr 2008 08:16:40 GMTJimBellJimBell Blog4/12/2008 4:16:40 AM2 Days in Paris (2007)&mdash;Could Judy Delpy (writer and director) learn anything from an old dead white guy, William Shakespeare? Lets compare the opening of 2 Days in Paris with one of William Shakespeare&rsquo;s lesser plays (it was not even printed in his life time), a love story and comedy called As You Like It. The first day in Paris opens with Jack and Marion, a &ldquo;couple,&rdquo; catching a cab. The line up is long. Jack tells a huge group of fellow Americans how to get to the Louvre, so they leave the line, but he has misdirected them so that he can get to the front of the cab line. Marion finds this endearing. Arriving at the house, Jack, a New York interior designer, meets Marion&rsquo;s flamboyant French mother, and he sort of helps Marion lug her suitcase up stairs. He criticizes her old bedroom and freaks out about mold in the bathroom&mdash;this designer is a hypochondriac. Marion looks bedraggled and explains how weird she was as a kid growing up in Paris. Are you interested? Ready for more? As You Like It opens with Orlando complaining bitterly that since his father died, his older brother has kept everything for himself, not even allowing Orlando to be educated, but instead using him as a beast of burden in the orchard. Orlando has had enough, argues with his older brother, fights, and extracts a promise that he will get part of his inheritance and his freedom. But the older brother vows to keep the money and take revenge on the young upstart. The perfect opportunity springs to mind when Charles, a wrestler who leaves opponents broken, laments to the older brother that Orlando has signed up to wrestle him. The older brother says break him. The second scene sees the beautiful and vivacious Celia (the usurping Duke&rsquo;s daughter) and her best friend, Rosalind (the daughter of the rightful Duke who has been deposed) engaged in hilarious conversation. To cheer Rosalind up, Celia initiates a &ldquo;sport&rdquo; of witticisms. Before this repartee dies down, in walks Touchstone the Fool with a great joke or riddle to add to the fun. When Rosalind and Celia watch the wrestling, Orlando unexpectedly wins, and Rosalind is quite taken with him and vice versa. Instant chemistry. But scene three opens with the Duke banishing Rosalind. She is distraught until Celia comes up with a plan to run away with her to the Forest of Arden where the exiles are living. Are you interested? Ready for more? More happens--with more interesting peope--in the first three scenes (not Acts!) of As You Like It than in the entire movie 2 Days in Paris. http://www.spout.com/blogs/wonga/archive/2008/1/10/23719.aspx Post By: wonga
Post To: wonga's filmblog
Post Date: 1/10/2008 12:19:35 PM
Body: i have a wonderful picture of all my movie ticket stubs from this year in a pile but i can’t get it transferred to my filmblog (yes, i save my ticket stubs and scrapbook them at the end of the year…i know, it’s sad really)! armed with discount movie coupons, i saw 118 movies this year at the theater and, as usual, it was really hard to narrow them down but here’s my list, for what it’s worth. some are from 2006 that i didn’t see until later. my 15 favorite movies at the theater in 2007the assassination of jesse james by the coward robert fordthe diving bell and the butterflythe lives of othersjunothe painted veilonceno country for old menthe darjeeling limitedwaitressstarting out in the eveningsunshinefirst snow zodiacin the shadow of the moonacross the universehonorable mention (alphabetically)2 days in paris 3:10 to yuma51 birch streetdirty dancing (20th anniversary)dreamgirlshairsprayinto the wildthe jane austen book clubkiller of sheepknocked uplars and the real girlletters from iwo jimathe lookouttalk to me wristcutters: a love story2007 movies i still want/need to seeking of kongthe savagessweeney toddthere will be blood 2007 movies I didn’t like so well before the devil knows you’re deadfeast of lovei now pronounce you chuck and larryla vie en rosemartian childold joyratatouillespider-man 3other movies (on video) that I fell in love with this yearthe dead girllonesome jimlook both ways
]]>Thu, 10 Jan 2008 17:19:35 GMTwongawonga's filmblog1/10/2008 12:19:35 PMi have a wonderful picture of all my movie ticket stubs from this year in a pile but i can&rsquo;t get it transferred to my filmblog (yes, i save my ticket stubs and scrapbook them at the end of the year&hellip;i know, it&rsquo;s sad really)! armed with discount movie coupons, i saw 118 movies this year at the theater and, as usual, it was really hard to narrow them down but here&rsquo;s my list, for what it&rsquo;s worth. some are from 2006 that i didn&rsquo;t see until later. my 15 favorite movies at the theater in 2007the assassination of jesse james by the coward robert fordthe diving bell and the butterflythe lives of othersjunothe painted veilonceno country for old menthe darjeeling limitedwaitressstarting out in the eveningsunshinefirst snow zodiacin the shadow of the moonacross the universehonorable mention (alphabetically)2 days in paris 3:10 to yuma51 birch streetdirty dancing (20th anniversary)dreamgirlshairsprayinto the wildthe jane austen book clubkiller of sheepknocked uplars and the real girlletters from iwo jimathe lookouttalk to me wristcutters: a love story2007 movies i still want/need to seeking of kongthe savagessweeney toddthere will be blood 2007 movies I didn&rsquo;t like so well before the devil knows you&rsquo;re deadfeast of lovei now pronounce you chuck and larryla vie en rosemartian childold joyratatouillespider-man 3other movies (on video) that I fell in love with this yearthe dead girllonesome jimlook both ways http://www.spout.com/blogs/minerwerks/archive/2007/9/4/19329.aspx Post By: minerwerks
Post To: minerwerks Blog
Post Date: 9/4/2007 2:43:00 AM
Body: There is a stable of actors that have maintained a great deal of credibility in my mind basically because I associate them with a period in my life where I was discovering a wide variety of films. Julie Delpy and Adam Goldberg will always bring me back to the mid 90s when I was spent my college years overdosing on all the movies I could. Goldberg was the neurotic guy in the backseat during 'Dazed and Confused.' Delpy was the adorable love interest of 'Before Sunrise.'Neither has broken out as a major star, but both have had consistent, intriguing careers. Goldberg wrote and directed a feature a few years back, 'I Love Your Work,' for which he provided some incidental music. Now it's Delpy's turn writing, directing and providing the music for her own film (she edits, too!), Goldberg is on board as Delpy's on-screen American boyfriend.'2 Days in Paris' opens as Marion (Delpy) and Jack (Goldberg) are arriving in Paris, and we can tell there is a bit of discomfort setting in. Jack has been taking pictures the whole trip and has been struck with food poisoning. Now in Paris, they have to stay in Marion's tiny, aging apartment, which just happens to be upstairs from her parents' home. At first, the film feels a lot like 'Before Sunrise,' with the two characters walking through Paris having discussions about love and beliefs - saying a lot but stopping short of a few difficult truths. Eventually, the story opens up as we meet Marion's parents (Marie Pillet and Albert Delpy) and sister (Alexia Landeau). There's also a handful of former lovers that seem to pop up everywhere the couple goes, including an art opening, a friend's party and a restaurant. The plot here is pretty basic, essentially a series of episodes that keep striking the note that Jack is harboring some serious jealousy issues. Delpy's Marion narrates, firmly putting the audience's sympathies with her right off the bat. The film attempts to give Marion a flaw in her willingness to leap into arguments a bit too easily, but Delpy's performance and writing conspire to make her very endearing despite this. Jack, on the other hand isn't really drawn as a likable guy. We don't have a sense of his background like we do with Marion. Goldberg is particularly good at the sarcastic, neurotic type, but even when he jokes or has an experience that should be somewhat emotional, he's always uncomfortable. As a choice, it's valid, but it certainly doesn't help us believe what Marion sees in this man in the first place. Thankfully, the film is full of great dialogue, great scenery, and a number of amusing sequences. As veterans of Richard Linklater's work, both performers understand how appealing a naturalistic performance can be. We can even tell that actors speaking French are doing a great job. Delpy borrows some tricks from Linklater's bag, but who can blame her? Despite Goldberg's performance as a generally unlikable guy, '2 Days in Paris,' is still quite endearing. The film has a quirky sensibility that just mildly tweaks reality (a pinch of 'Amelie') but never takes attention away from the leads. It may just be fluff for film buffs, but that's still better than the usual lineup at the cineplex these days.
]]>Tue, 04 Sep 2007 06:43:00 GMTminerwerksminerwerks Blog9/4/2007 2:43:00 AMThere is a stable of actors that have maintained a great deal of credibility in my mind basically because I associate them with a period in my life where I was discovering a wide variety of films. Julie Delpy and Adam Goldberg will always bring me back to the mid 90s when I was spent my college years overdosing on all the movies I could. Goldberg was the neurotic guy in the backseat during &#39;Dazed and Confused.&#39; Delpy was the adorable love interest of &#39;Before Sunrise.&#39;Neither has broken out as a major star, but both have had consistent, intriguing careers. Goldberg wrote and directed a feature a few years back, &#39;I Love Your Work,&#39; for which he provided some incidental music. Now it&#39;s Delpy&#39;s turn writing, directing and providing the music for her own film (she edits, too!), Goldberg is on board as Delpy&#39;s on-screen American boyfriend.&#39;2 Days in Paris&#39; opens as Marion (Delpy) and Jack (Goldberg) are arriving in Paris, and we can tell there is a bit of discomfort setting in. Jack has been taking pictures the whole trip and has been struck with food poisoning. Now in Paris, they have to stay in Marion&#39;s tiny, aging apartment, which just happens to be upstairs from her parents&#39; home. At first, the film feels a lot like &#39;Before Sunrise,&#39; with the two characters walking through Paris having discussions about love and beliefs - saying a lot but stopping short of a few difficult truths. Eventually, the story opens up as we meet Marion&#39;s parents (Marie Pillet and Albert Delpy) and sister (Alexia Landeau). There&#39;s also a handful of former lovers that seem to pop up everywhere the couple goes, including an art opening, a friend&#39;s party and a restaurant. The plot here is pretty basic, essentially a series of episodes that keep striking the note that Jack is harboring some serious jealousy issues. Delpy&#39;s Marion narrates, firmly putting the audience&#39;s sympathies with her right off the bat. The film attempts to give Marion a flaw in her willingness to leap into arguments a bit too easily, but Delpy&#39;s performance and writing conspire to make her very endearing despite this. Jack, on the other hand isn&#39;t really drawn as a likable guy. We don&#39;t have a sense of his background like we do with Marion. Goldberg is particularly good at the sarcastic, neurotic type, but even when he jokes or has an experience that should be somewhat emotional, he&#39;s always uncomfortable. As a choice, it&#39;s valid, but it certainly doesn&#39;t help us believe what Marion sees in this man in the first place. Thankfully, the film is full of great dialogue, great scenery, and a number of amusing sequences. As veterans of Richard Linklater&#39;s work, both performers understand how appealing a naturalistic performance can be. We can even tell that actors speaking French are doing a great job. Delpy borrows some tricks from Linklater&#39;s bag, but who can blame her? Despite Goldberg&#39;s performance as a generally unlikable guy, &#39;2 Days in Paris,&#39; is still quite endearing. The film has a quirky sensibility that just mildly tweaks reality (a pinch of &#39;Amelie&#39;) but never takes attention away from the leads. It may just be fluff for film buffs, but that&#39;s still better than the usual lineup at the cineplex these days. http://www.spout.com/blogs/sarcastig/archive/2007/8/14/18074.aspx Post By: sarcastig
Post To: As cool as a Fruitstand
Post Date: 8/14/2007 4:00:43 PM
Body: I love going to Paris. By now, I've been there so often that I don't feel the need to do any of the touristy things any more, and especially since this time I was there all by myself, I could just wander around at my own pace, at each intersection going into the street that looked nicest, with only the vaguest of goals in mind.I was in the same hostel I also went to with my sister two years ago. It's not that great a hostel, but the location is perfect: it's on the Rue Mouffetard, a road with many small eateries, bars and shops and people walking around at all times of the day.I'd never really been on holiday by myself. I'd traveled alone, yes, and I'd been by myself for a day, but never two whole days. It was a bit lonely, but in the end I liked it a lot: there's a freedom to it that really allows you to relax. Nobody gets bothered if you decide to take twenty pictures of one statue, if you spend half an hour browsing in a DVD shop (bought a wonderful version of The Science of Sleep, filled with extras, and Orson Welles' The Stranger), if you just sit in a park or next to the Seine for an hour, reading or making notes. The first evening, was, however, a bit strange, I had no idea what to do with myself, but the second night I had dinner with a big group from the hostel and had a lot of fun.You have experiences by yourself you otherwise probably wouldn't have. I had myself a "free" massage, for example (I gave a 3 euro tip), and I had a really nice conversation in a park with two clochards who were lying in the park there, one with a half a liter can of beer, the other with a bottle of wine standing next to him in the grass. When the can was finished, the guy dutifully stood up to throw it in the garbage bag, and when they left, the other even offered me a piece of flan as they left. I checked: up was still up, down was still down.I think what made me fully accept the being alone part was seeing 2 Days in Paris on Sunday. In this Julie Delpy directed film, she and her American boyfriend (played by ex Adam Goldberg) spend, well, 2 days in Paris. Before Sunset, however, this is not. Before Sunrise and also Before Sunset are about the start of a relationship, when you discover each other and are amazed by the connection you find. Two days in Paris, on the other hand, is about what happens two years later when all the character traits and habits you used to find adorable are now highly irritating, you wonder whether it's worth all the effort and bickering, and you discover you don't really know each other at all. This sounds pretty depressing, I know. But while it is true that it made me realize that spending two days alone in Paris is definitely better than spending two days fighting with a boy or girlfriend in Paris, that wasn't why I left the theatre with a grin on my face: this is probably the funniest movie I've seen all year, funnier than Clerks 2, for instance. How funny? Well, one noise it incited in me got its own laugh from a fellow moviegoer.The criticism the film will get is, of course, that the characters are caricatures. And yes, the are. But at the same time, let's not forget what a caricature is: a depiction that takes the flaws and funny things that are there, and magnifies them. For instance, I don't know if all French families are as open about their sex lives and sex in general as Delpy's family (her parents plaid by her real-life parents) is here, but they are definitely much more open than American families. And Adam Goldberg? His character is not a hick, he's one of those Americans who is critical of his country, who is a democrat and who images he has a European sensibility: he knows French authors, even speaks a few words, and when he encounters a group of American "code-breakers" (i.e. Dan Brown aficionados) looking for the Louvre...well, I won't spoil what he does, but you can smell his contempt. He is, nonetheless, American, in his food preferences, his paranoid sense of hygiene, and the way he thinks about relationships, and that's where the conflict stems from.Ok, ok, admittedly, it also stems from the many exes of Delpy's Marion they run into, and their -unfortunately very French- behavior. It also comes from the fact that French people will just go on talking in French even if there's someone who doesn't speak the language in their midst. But who cares, really, where it stems from, when the result is so funny: each taxi driver they run into is worse than the previous one, a "fairy" shows up to give Goldman advice, and there's a scene with Goldman holding a phone in one hand and a dictionary in the other getting progressively angrier that had me doubled over. Its maybe a little exaggerated, ok, a lot, but the comedy stems from human behavior and emotion, not from convoluted misunderstandings and toilet humor, and that's incredibly refreshing.The best film this year? Not by a long shot. But the funniest? I definitely think so. Originally posted on:As cool as a Fruitstand
]]>Tue, 14 Aug 2007 20:00:43 GMTsarcastigAs cool as a Fruitstand8/14/2007 4:00:43 PMI love going to Paris. By now, I've been there so often that I don't feel the need to do any of the touristy things any more, and especially since this time I was there all by myself, I could just wander around at my own pace, at each intersection going into the street that looked nicest, with only the vaguest of goals in mind.I was in the same hostel I also went to with my sister two years ago. It's not that great a hostel, but the location is perfect: it's on the Rue Mouffetard, a road with many small eateries, bars and shops and people walking around at all times of the day.I'd never really been on holiday by myself. I'd traveled alone, yes, and I'd been by myself for a day, but never two whole days. It was a bit lonely, but in the end I liked it a lot: there's a freedom to it that really allows you to relax. Nobody gets bothered if you decide to take twenty pictures of one statue, if you spend half an hour browsing in a DVD shop (bought a wonderful version of The Science of Sleep, filled with extras, and Orson Welles' The Stranger), if you just sit in a park or next to the Seine for an hour, reading or making notes. The first evening, was, however, a bit strange, I had no idea what to do with myself, but the second night I had dinner with a big group from the hostel and had a lot of fun.You have experiences by yourself you otherwise probably wouldn't have. I had myself a "free" massage, for example (I gave a 3 euro tip), and I had a really nice conversation in a park with two clochards who were lying in the park there, one with a half a liter can of beer, the other with a bottle of wine standing next to him in the grass. When the can was finished, the guy dutifully stood up to throw it in the garbage bag, and when they left, the other even offered me a piece of flan as they left. I checked: up was still up, down was still down.I think what made me fully accept the being alone part was seeing 2 Days in Paris on Sunday. In this Julie Delpy directed film, she and her American boyfriend (played by ex Adam Goldberg) spend, well, 2 days in Paris. Before Sunset, however, this is not. Before Sunrise and also Before Sunset are about the start of a relationship, when you discover each other and are amazed by the connection you find. Two days in Paris, on the other hand, is about what happens two years later when all the character traits and habits you used to find adorable are now highly irritating, you wonder whether it's worth all the effort and bickering, and you discover you don't really know each other at all. This sounds pretty depressing, I know. But while it is true that it made me realize that spending two days alone in Paris is definitely better than spending two days fighting with a boy or girlfriend in Paris, that wasn't why I left the theatre with a grin on my face: this is probably the funniest movie I've seen all year, funnier than Clerks 2, for instance. How funny? Well, one noise it incited in me got its own laugh from a fellow moviegoer.The criticism the film will get is, of course, that the characters are caricatures. And yes, the are. But at the same time, let's not forget what a caricature is: a depiction that takes the flaws and funny things that are there, and magnifies them. For instance, I don't know if all French families are as open about their sex lives and sex in general as Delpy's family (her parents plaid by her real-life parents) is here, but they are definitely much more open than American families. And Adam Goldberg? His character is not a hick, he's one of those Americans who is critical of his country, who is a democrat and who images he has a European sensibility: he knows French authors, even speaks a few words, and when he encounters a group of American "code-breakers" (i.e. Dan Brown aficionados) looking for the Louvre...well, I won't spoil what he does, but you can smell his contempt. He is, nonetheless, American, in his food preferences, his paranoid sense of hygiene, and the way he thinks about relationships, and that's where the conflict stems from.Ok, ok, admittedly, it also stems from the many exes of Delpy's Marion they run into, and their -unfortunately very French- behavior. It also comes from the fact that French people will just go on talking in French even if there's someone who doesn't speak the language in their midst. But who cares, really, where it stems from, when the result is so funny: each taxi driver they run into is worse than the previous one, a "fairy" shows up to give Goldman advice, and there's a scene with Goldman holding a phone in one hand and a dictionary in the other getting progressively angrier that had me doubled over. Its maybe a little exaggerated, ok, a lot, but the comedy stems from human behavior and emotion, not from convoluted misunderstandings and toilet humor, and that's incredibly refreshing.The best film this year? Not by a long shot. But the funniest? I definitely think so. Originally posted on:As cool as a Fruitstand http://www.spout.com/blogs/spoutblog/archive/2007/8/6/17448.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/6/2007 5:01:03 PM
Body: I’ve just returned from a screening of 2 Days in Paris, a comedy written, directed, starring and edited by Julie Delpy of Before Sunrise/Before Sunset fame. Delpy has been very vocal about how her involvement in those Richard Linklater films helped her get funding for Paris. But I wonder if Delpy’s candor isn’t doing her new film a disservice. Earlier today, I read a review of Paris in L Magazine (via GreenCine Daily) which seems to exemplify the general critical reaction to the picture. “The movie suffers terribly of course from the inevitable comparisons to Before Sunrise/Sunset,” writes Benjamin Strong “But in all fairness to Delpy, show me a film that wouldn’t.” With that in mind, I came home from the Paris screening and watched several clips of Sunset on YouTube (cough cough the whole movie’s there in eight parts cough cough), and I think the comparison actually made 2 Days in Paris stand out to me as a more original film. It’s fair to make comparisons. 2 Days in Paris, like Before Sunset, is a snap shot of relationship between a French woman and an American man, which plays out over the course of a temporary stay Paris. Both films even end with images of Delpy dancing. But whereas the last scene of Sunset (in which Delpy’s Celine channels the spirit of Nina Simone while Ethan Hawke’s Jesse looks on, boggled by her beauty and her shaking booty) typifies that film’s idealization of that relationship, Paris has little use for such golden-hued fantasies of romantic love. Linklater’s film is a verite-style portrait of a relationship at its most magical (and least sustainable); Delpy’s is an almost Brechtian analysis of what happens to a relationship after that magic hour. It’s far from a perfect film, and in fact at times it feels rather schizophrenic. But somehow, in between fits of broad comedy and Godardian self-referentiality (the first shot of the film even offers a wink at Godard’s “girl and a gun”), Delpy manages to pull off a spot-on portrayal of what it feels like to be in an adult relationship on the brink. It’s certainly messier than Linklater’s tightly-orchestrated symphony of long shots, but to me, the fact you can all but see Delpy’s fingerprints on the screen is extremely appealing. It’s also fascinating to watch Delpy directly allude to Sunset, as she seems to be doing in the final of scene of Paris, but recast the mood and the situation to fit her own point of view. In Sunset, Linklater draws attention to Delpy’s pale, etheral beauty and sylph-like thinness by putting the actress in a gauzy, backless black blouse, and shooting her slinky dance for Jesse in wide-angle. Celine is clearly performing, but with her body perpendicular to Jesse’s, so that we get the sense that he’s almost spying on her in plain sight. This is classic female objectification–there’s even something slightly creepy about the second-to-last shot of the film, when Hawke, right before breaking into laughter, seems to shift his gaze into a leer. The final shots of 2 Days in Paris have an entirely different feel. I guess it would be a spoiler to go into it here in great detail, but suffice it to say that Delpy (seen here on screen clearly slightly heavier and slightly older, but no less beautiful) takes the opportunity to move away from the fantasy and towards the real. Above: that final shot of Celine dancing in Before Sunset. You can also watch a brief clip from Paris here, courtesy of indieWIRE. Originally posted on:Spoutblog
]]>Mon, 06 Aug 2007 21:01:03 GMTSpoutBlogSpoutBlog on spout.com8/6/2007 5:01:03 PM I’ve just returned from a screening of 2 Days in Paris, a comedy written, directed, starring and edited by Julie Delpy of Before Sunrise/Before Sunset fame. Delpy has been very vocal about how her involvement in those Richard Linklater films helped her get funding for Paris. But I wonder if Delpy’s candor isn’t doing her new film a disservice. Earlier today, I read a review of Paris in L Magazine (via GreenCine Daily) which seems to exemplify the general critical reaction to the picture. “The movie suffers terribly of course from the inevitable comparisons to Before Sunrise/Sunset,” writes Benjamin Strong “But in all fairness to Delpy, show me a film that wouldn’t.” With that in mind, I came home from the Paris screening and watched several clips of Sunset on YouTube (cough cough the whole movie’s there in eight parts cough cough), and I think the comparison actually made 2 Days in Paris stand out to me as a more original film. It’s fair to make comparisons. 2 Days in Paris, like Before Sunset, is a snap shot of relationship between a French woman and an American man, which plays out over the course of a temporary stay Paris. Both films even end with images of Delpy dancing. But whereas the last scene of Sunset (in which Delpy’s Celine channels the spirit of Nina Simone while Ethan Hawke’s Jesse looks on, boggled by her beauty and her shaking booty) typifies that film’s idealization of that relationship, Paris has little use for such golden-hued fantasies of romantic love. Linklater’s film is a verite-style portrait of a relationship at its most magical (and least sustainable); Delpy’s is an almost Brechtian analysis of what happens to a relationship after that magic hour. It’s far from a perfect film, and in fact at times it feels rather schizophrenic. But somehow, in between fits of broad comedy and Godardian self-referentiality (the first shot of the film even offers a wink at Godard’s “girl and a gun”), Delpy manages to pull off a spot-on portrayal of what it feels like to be in an adult relationship on the brink. It’s certainly messier than Linklater’s tightly-orchestrated symphony of long shots, but to me, the fact you can all but see Delpy’s fingerprints on the screen is extremely appealing. It’s also fascinating to watch Delpy directly allude to Sunset, as she seems to be doing in the final of scene of Paris, but recast the mood and the situation to fit her own point of view. In Sunset, Linklater draws attention to Delpy’s pale, etheral beauty and sylph-like thinness by putting the actress in a gauzy, backless black blouse, and shooting her slinky dance for Jesse in wide-angle. Celine is clearly performing, but with her body perpendicular to Jesse’s, so that we get the sense that he’s almost spying on her in plain sight. This is classic female objectification–there’s even something slightly creepy about the second-to-last shot of the film, when Hawke, right before breaking into laughter, seems to shift his gaze into a leer. The final shots of 2 Days in Paris have an entirely different feel. I guess it would be a spoiler to go into it here in great detail, but suffice it to say that Delpy (seen here on screen clearly slightly heavier and slightly older, but no less beautiful) takes the opportunity to move away from the fantasy and towards the real. Above: that final shot of Celine dancing in Before Sunset. You can also watch a brief clip from Paris here, courtesy of indieWIRE. Originally posted on:Spoutblog http://www.spout.com/blogs/spoutblog/archive/2007/7/11/13688.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/11/2007 7:00:42 PM
Body: I stumbled across this story via the FILMMAKER Mag blog: in a lengthy story for the Contra Costa Times, Mary F. Pols talks to a number of female filmmakers, from super-indie to mega-Hollywood, about working in a business that is still overwhelmingly run by dudes. There's a lot of good stuff in the piece, but an anecdote from actress/director Julie Delpy particularly caught my eye. Delpy's second feature film as writer/director, 2 Days in Paris, opens in the U.S. next month. Festival buzz has generally been positive, but no one who's seen the thing can overlook the similarities between it and the film that marks Delpy's greatest triumph as an actress, Richard Linklater's Before Sunset. Well, turns out, there's a reason for that. After working for some of world cinema's greatest directors and attending NYU film school, Delpy "had a drawer full of scripts that reflected her love of science fiction and other nongirlie topics"--none of which she could find financing for. Then, as Pols tells it, [A] friend suggested she write a script that bore some similarity to Before Sunset, the successful 2004 film Delpy had starred in and co-written. She had shared an Oscar nomination for the screenplay, and her friend's supposition was that financiers would feel "safe" with a project that seemed like Before Sunset. The trick paid off. Delpy wrote 40 pages of a relationship farce set in Paris, which she then shopped around. She found financing for it in Germany. The result is 2 Days in Paris. [...] "This is why my first film is a romantic comedy," said Delpy, now 37, with evident exasperation. "It is only because it is the first time people will give me money to make a film. People will trust a woman to do something with a relationship more than they will to do something with a war story or science fiction." Delpy goes on explain that she'd "sell out to direct a big action movie" in a heartbeat. Her lifelong dream, she says, is to make a film like Blade Runner. "But you need money to make Blade Runner." Ignoring, for a moment, that Delpy probably shouldn't be whining about how the big boys won't give her money to make a summer tentpole before her first real feature is even released, I'd be fascinated to see what kinds of scripts are lying dormant in other filmmakers' drawers. Does Harmony Korine have a high school comedy that no one wants to pay for? Does Sofia Coppola secretly want to remake Raging Bull? And considering how many relatively nameless, style-less directors are handed "big action movies" these days, does demonstrable competence in a specific genre actually hurt more than it helps? Originally posted on:SpoutBlog
]]>Wed, 11 Jul 2007 23:00:42 GMTSpoutBlogSpoutBlog on spout.com7/11/2007 7:00:42 PM I stumbled across this story via the FILMMAKER Mag blog: in a lengthy story for the Contra Costa Times, Mary F. Pols talks to a number of female filmmakers, from super-indie to mega-Hollywood, about working in a business that is still overwhelmingly run by dudes. There's a lot of good stuff in the piece, but an anecdote from actress/director Julie Delpy particularly caught my eye. Delpy's second feature film as writer/director, 2 Days in Paris, opens in the U.S. next month. Festival buzz has generally been positive, but no one who's seen the thing can overlook the similarities between it and the film that marks Delpy's greatest triumph as an actress, Richard Linklater's Before Sunset. Well, turns out, there's a reason for that. After working for some of world cinema's greatest directors and attending NYU film school, Delpy "had a drawer full of scripts that reflected her love of science fiction and other nongirlie topics"--none of which she could find financing for. Then, as Pols tells it, [A] friend suggested she write a script that bore some similarity to Before Sunset, the successful 2004 film Delpy had starred in and co-written. She had shared an Oscar nomination for the screenplay, and her friend's supposition was that financiers would feel "safe" with a project that seemed like Before Sunset. The trick paid off. Delpy wrote 40 pages of a relationship farce set in Paris, which she then shopped around. She found financing for it in Germany. The result is 2 Days in Paris. [...] "This is why my first film is a romantic comedy," said Delpy, now 37, with evident exasperation. "It is only because it is the first time people will give me money to make a film. People will trust a woman to do something with a relationship more than they will to do something with a war story or science fiction." Delpy goes on explain that she'd "sell out to direct a big action movie" in a heartbeat. Her lifelong dream, she says, is to make a film like Blade Runner. "But you need money to make Blade Runner." Ignoring, for a moment, that Delpy probably shouldn't be whining about how the big boys won't give her money to make a summer tentpole before her first real feature is even released, I'd be fascinated to see what kinds of scripts are lying dormant in other filmmakers' drawers. Does Harmony Korine have a high school comedy that no one wants to pay for? Does Sofia Coppola secretly want to remake Raging Bull? And considering how many relatively nameless, style-less directors are handed "big action movies" these days, does demonstrable competence in a specific genre actually hurt more than it helps? Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2007/7/11/13684.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/11/2007 6:00:35 PM
Body: I stumbled across this story via the FILMMAKER Mag blog: in a lengthy story for the Contra Costa Times, Mary F. Pols talks to a number of female filmmakers, from super-indie to mega-Hollywood, about working in a business that is still overwhelmingly run by dudes. There's a lot of good stuff in the piece, but an anecdote from actress/director Julie Delpy particularly caught my eye. Delpy's second feature film as writer/director, 2 Days in Paris, opens in the U.S. next month. Festival buzz has generally been positive, but no one who's seen the thing can overlook the similarities between it and the film that marks Delpy's greatest triumph as an actress, Richard Linklater's Before Sunset/em>. Well, turns out, there's a reason for that. After working for some of world cinema's greatest directors and attending NYU film school, Delpy "had a drawer full of scripts that reflected her love of science fiction and other nongirlie topics"--none of which she could find financing for. Then, as Pols tells it, [A] friend suggested she write a script that bore some similarity to Before Sunset, the successful 2004 film Delpy had starred in and co-written. She had shared an Oscar nomination for the screenplay, and her friend's supposition was that financiers would feel "safe" with a project that seemed like Before Sunset. The trick paid off. Delpy wrote 40 pages of a relationship farce set in Paris, which she then shopped around. She found financing for it in Germany. The result is 2 Days in Paris. [...] "This is why my first film is a romantic comedy," said Delpy, now 37, with evident exasperation. "It is only because it is the first time people will give me money to make a film. People will trust a woman to do something with a relationship more than they will to do something with a war story or science fiction." Delpy goes on explain that she'd "sell out to direct a big action movie" in a heartbeat. Her lifelong dream, she says, is to make a film like Blade Runner. "But you need money to make Blade Runner." Ignoring, for a moment, that Delpy probably shouldn't be whining about how the big boys won't give her money to make a summer tentpole before her first real feature is even released, I'd be fascinated to see what kinds of scripts are lying dormant in other filmmakers' drawers. Does Harmony Korine have a high school comedy that no one wants to pay for? Does Sofia Coppola secretly want to remake Raging Bull? And considering how many relatively nameless, style-less directors are handed "big action movies" these days, does demonstrable competence in a specific genre actually hurt more than it helps? Originally posted on:SpoutBlog
]]>Wed, 11 Jul 2007 22:00:35 GMTSpoutBlogSpoutBlog on spout.com7/11/2007 6:00:35 PM I stumbled across this story via the FILMMAKER Mag blog: in a lengthy story for the Contra Costa Times, Mary F. Pols talks to a number of female filmmakers, from super-indie to mega-Hollywood, about working in a business that is still overwhelmingly run by dudes. There's a lot of good stuff in the piece, but an anecdote from actress/director Julie Delpy particularly caught my eye. Delpy's second feature film as writer/director, 2 Days in Paris, opens in the U.S. next month. Festival buzz has generally been positive, but no one who's seen the thing can overlook the similarities between it and the film that marks Delpy's greatest triumph as an actress, Richard Linklater's Before Sunset/em>. Well, turns out, there's a reason for that. After working for some of world cinema's greatest directors and attending NYU film school, Delpy "had a drawer full of scripts that reflected her love of science fiction and other nongirlie topics"--none of which she could find financing for. Then, as Pols tells it, [A] friend suggested she write a script that bore some similarity to Before Sunset, the successful 2004 film Delpy had starred in and co-written. She had shared an Oscar nomination for the screenplay, and her friend's supposition was that financiers would feel "safe" with a project that seemed like Before Sunset. The trick paid off. Delpy wrote 40 pages of a relationship farce set in Paris, which she then shopped around. She found financing for it in Germany. The result is 2 Days in Paris. [...] "This is why my first film is a romantic comedy," said Delpy, now 37, with evident exasperation. "It is only because it is the first time people will give me money to make a film. People will trust a woman to do something with a relationship more than they will to do something with a war story or science fiction." Delpy goes on explain that she'd "sell out to direct a big action movie" in a heartbeat. Her lifelong dream, she says, is to make a film like Blade Runner. "But you need money to make Blade Runner." Ignoring, for a moment, that Delpy probably shouldn't be whining about how the big boys won't give her money to make a summer tentpole before her first real feature is even released, I'd be fascinated to see what kinds of scripts are lying dormant in other filmmakers' drawers. Does Harmony Korine have a high school comedy that no one wants to pay for? Does Sofia Coppola secretly want to remake Raging Bull? And considering how many relatively nameless, style-less directors are handed "big action movies" these days, does demonstrable competence in a specific genre actually hurt more than it helps? Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/funny/MemberTagFilms.aspxfunny
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