Audiard Dazzles With Its X-Ray Of Millennial Disenchantment
A Jacques Audiard is known primarily as the director of films almost always magnificent -titles as ‘beating, my heart has stopped’ (2005), ‘A Prophet’ (2009) and ‘The Brothers Sister’ (2018) that they explore the mechanisms of masculinity, and that they do not try to portray the real world but rather a mythologized version of it through the conventions of genre cinema.
And that is why ‘Paris, 13th arrondissement’, represents an unmistakable change of record for él. “I have the feeling that each new film I make works as a questioning of the one I made just before,” explains the Frenchman about his ninth feature film, which has just opened the 18th edition of the Seville Festival. “Shooting gives me the satisfaction of certain desires but it also creates frustrations, which I can only deal with by shooting again.”
Tomine’s Graphic Novel
The film is mostly female and feminist in its entirety, ‘Paris, 13th district’ accompanies three characters located in the most multicultural neighborhood of Paris to contemplate the millennials through their professional uncertainties, their coexistence with social networks, their problems affectivewith his elders and his permanent disenchantment.
“When I was 30, my life was simpler than that of today’s thirty-something,” Audiard recalls. “We did not suffer unemployment or uncertainty, nor did we have to live with several roommates in order to make ends meet. Being young today is a big problem ”. While contemplating its protagonists, in any case, the film – based on a trio of graphic novels by American author Adrian Tomine – remains jovial and carefree, and exudes an affection, warmth and sensuality that are exceptional in the director’s work. .
“I was especially interested in portraying how today’s young people live desire and sex, and how the paradigm has changed in that sense. In the past two people talked and knew each other, and some time later they went to bed; today, instead, The first thing they do is lie down and then sometimes they talk. I don’t want to sound old, but I’m not sure there is room for romance. “
While capturing with disarmingly naturalness – and in suggestive black and white – the ways of a generation that is not his own, Audiard also manages to take the pulse of a city that the cinema often turns into a mere cliché . “Paris is very difficult to film, in part because it is practically a huge museum,” he laments. “I have wanted to keep the film away from its most photogenic places. Because of the movies, those who have not lived in the city have a frankly distorted vision of it ”.