Paris forever

The city of lights would seem the perfect setting for a compilation of 18 short films, each five to eight minutes long, about love and passion. But what makes Paris, Je T’Aime intriguing, beyond its role as a travelogue of Parisian neighborhoods, is that it offers a rare chance to observe in one sitting how numerous writers, directors and cinematographers—some famous, some not—employ different cinematic tools. Think flashback and flash-forward, fantasy and dreams, jerky hand-held camera work and all sorts of camera and editing gimmicks. This approach also allows us to consider which of the films are too long for their own good, too slight in terms of message or too overt in terms of theme.

 

This article is available to subscribers only. Please subscribe for full access—subscriptions begin at $2.95. Already have an online account? Log in now. Already a print subscriber? Create an online account for no additional cost.

This article is available to subscribers only.

To post a comment, log inregister, or use the Facebook comment box.