14/02/11

Invisibili di San Valentino - Paris, Je t'aime (2006)

Bruno Podalydès (segmento "Montmartre")




Gurinder Chadha


(segmento "Quais de Seine") 


Gus Van Sant (segmento "Le Marais")





 Joel e Ethan Coen (segmento "Tuileries")


Daniela Thomas e Walter Salles (segmento "Loin du 16e")


 Christopher Doyle (segmento "Porte de Choisy")


Isabel Coixet (segmento "Bastille")


Nobuhiro Suwa (segmento "Place des Victoires")


Sylvain Chomet (segmento "Tour Eiffel")


Alfonso Cuarón  (segmento "Parc Monceau")


Olivier Assayas (segmento "Quartier des Enfants Rouges")


Oliver Schmitz (segmento "Place des Fetes")


Richard LaGravenese  (segment "Pigalle")


Vincenzo Natali  (segmento "Quartier de la Madeleine")



Wes Craven (segmento "Pere-Lachaise")




Tom Tykwer  (segmento "Faubourg Saint-Denis")


Gérard Depardieu /  Frédéric Auburtin (segment "Quartier Latin")


Alexander Payne (segment "14e arrondissement")

 8.0 su 10


Lo speciale "San Valentino e Cinema" termina con un piccolo post di rimando ad uno dei film più adatti ad esprimere il sentimento amoroso in forma autoriale, "Paris, Je t'aime", summa densa e pregnante di un mucchio di corti realizzati attraverso la collaborazione di director di varia provenienza e con la partecipazione degli attori di molte cinematografie. Il progetto è insieme una lunga ode alla città di Parigi, vista nelle sue località principi e anche meno note dove ha luogo l'azione, sempre diversa, dei 18 episodi. Ad ogni episodio corrisponde insieme uno squarcio cittadino e una storia di amore. Senza andare nel dettaglio dei singoli frammenti, la perfezione è data dalla capacità di giustapporre l'un l'altra in modo unico piccole storie di circa cinque minuti di durata, immettendo elementi personali della poetica di ogni regista, senza perdere di vista il leit-motiv comune: l'amore e la città, fondamenti base di molti film a tradizione classica. E così che il film prende costantemente strade diverse, diventa cinema a tutto tondo, un integrum di generi, di visioni, di sguardi. E la classicità del passato diventa sperimentalismo complesso. Il lirismo dell'opera è totale, così come la grande capacità di interagire con lo spettatore. Ognuno dei 18 framenti ha il suo pubblico, e ogni spettatore non può, a seconda dello stato d'animo, non scegliere un corto del cuore, attinente alla sua situazione, del passato, del presente e del futuro. "Paris, Je t'aime" è un vero atto d'amore verso la città che ospita le riprese, tanto che la stessa componente da cartolina viene meno e il progetto si caratterizza per l'organicità disinteressata di chi vi mette, in un modo o nell'altro, mano. Non è importante parlare di momenti più o meno riusciti, ma solo di idee diverse che si bilanciano tra loro, con risultati più o meno riusciti.






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