Love Songs (film)

• Louis Garrel: Ismaël
• Ludivine Sagnier: Julie
• Clotilde Hesme: Alice
• Grégoire Leprince- Ringuet: Erwann
• Chiara Mastroianni: Jeanne

Love Songs (Les Chansons d' amour ) is a French film (2007) with song deposits.

Action

The relationship of the Thirty Years' Paris Ismaël and Julie has lost its vigor. To spice, they take Alice as a third party to live with him. However, three of us in bed they soon realize that this combination does not work smoothly. The situation seems to relax when Alice anbändelt with another guy.

Julie passed away unexpectedly of heart failure. Ismaël tries to cope with his grief for long trials through the city. He shows himself insensible to the affection of Jeanne, Julie's sister. Instead, he looks at the advances of the young Bretons Erwann and detaches from Alice. Finally, it appears Julie again, and he can finish this chapter of his life.

Allusions

Love Songs contains 13 songs deposits, which are paid by the vocally untrained actors. In addition, the film has numerous allusions to the fully sung classic The Umbrellas of Cherbourg (1964). He has taken from it, for example, the three intermediate entitled " The Departure ", " Absence " and " The Return". There are some references to works of the Nouvelle Vague. The scene with the bed reading François Truffaut's film refers to a table and bed (1970). The area around the Porte Saint -Martin as the venue was a tribute to a woman is a woman of Jean -Luc Godard understood.

Arguments of criticism

In filmdienst Hans Messiah -reviewed the film. How Honoré discusses the themes of love, death, mourning and farewell, " is admirable audacity and inszenatorischem sensitivity. " The fascinating songs are fabricating " moments where sadness, grief and anger are close together ." And ' direction, music and convincing actors (which, however sing at different levels ) are supported by the sympathetic camera work. " In epd film was Karlheinz Oplustil, Louis Garrel appearing as a double of the Nouvelle Vague Stars Jean -Pierre Léaud. But Honoré's homage to the Nouvelle Vague lies less in the allusions to those films than in his production, " the room for dramatic breakthroughs for playful experimentation and spontaneity can ". The film borrowing much from the umbrellas and develop " real originality " only with the death of Julie's. " In the first part make it a young people not easy to like her, too superficial and mannered their behavior, and wanted to contribute their relationship problems. " Similar assessment FAZ critic Michael Althen. Initially, the film leave the viewer perplexed, but from the death of Julie's was the movie " grief work " and go to the heart. Honoré use a lot of care to ensure the model of The Umbrellas of Cherbourg to make his obeisance. " And Louis Garrel already acts like the prettier reincarnation of Jean -Pierre Léaud. "

Thomas Abeltshauser -reviewed the strip in the Berliner Morgenpost. The balance between " between charm and sentiment, between authentic lifestyles for young urbanites and Paris Kitsch " succeed the film " sometimes more, sometimes less." At the transitions between singing and playing scenes ruckle it pretty clearly. The most elegant gelängen such exceedances Louis Garrel. In the mirror Wolfgang Höbel described the film as " vain, mannered and at most moderate charming finger exercise ". The narrative 'll miss passion and interest largely. "Unfortunately, the music is not very good and often worse kitsch. " The short review of the Frankfurter Rundschau stated at the pieces of music if it were hit instead of chansons, and The Umbrellas of Cherbourg cited Honoré's film never come close.