Paris, je t'aime 2007

This anthology feature film showcases eighteen distinct five-minute segments, each capturing unique aspects of loving couples in the enchanting city of Paris, France.

“Montmartre”, directed by Bruno Podalydes, unfolds in the 18th Arrondissement, where we meet a local man, played by Bruno Podalydes, who is struggling to find a parking spot amidst the narrow streets of Montmartre. His frustration mounts as he maneuvers his car into a spot that, although tight, he hilariously manages to fit into. As he waits, he observes couples passing by, pondering why he remains single. His attention is suddenly captured when a woman named Florence Muller faints nearby. Rushing to her aid, he helps her into the backseat of his car to recuperate. Once she awakens, they strike up a cheerful conversation, and she admits she’s en route to meet her tobacconist. He kindly offers her a ride and expresses his willingness to wait for her return, leaving both of them feeling quite uplifted.

In “Quais des Seine,” directed by Gurinder Chadha, the scene shifts to the 5th Arrondissement, where a trio of local teenage boys engage in catcalling passing women by the Seine riverfront. Among them is a boy named Francois played by Cyril Descours, who locks eyes with a young Arab Muslim girl named Zarka, portrayed by Leila Bekhti. Their brief exchange causes Zarka to trip, and as he helps her up, she criticizes the boys for their crude antics. After she hurries off to the mosque, François, smitten, runs to catch up with her. Upon arriving, he meets Zarka’s grandfather, who invites him to join them as they walk together, suggesting the budding of a meaningful connection.

Next in “Le Marais,” directed by Gus Van Sant, we are in the 4th Arrondissement where an American woman and her young French assistant, Gaspard, played by Gaspard Ulliel, visit a small printing company. While the woman engages in business discussions with the shop owner, Gaspard strikes up a conversation with the owner’s assistant, Elie, brought to life by Elias McConnell. Gaspard is clearly infatuated and talks non-stop, but as it turns out, Elie has trouble understanding French. After the woman leaves, Elie makes a beeline after Gaspard, eager to explore the connection sparked during their brief exchange.

In “Tuileries,” directed by the Coen brothers, we find ourselves at an underground 1st Arrondissement metro station. Here, an especially awkward American tourist, portrayed by Steve Buscemi, nervously awaits his train while engrossed in a guidebook warning against making eye contact with locals. Against the odds, he glances over at a couple engaged in a fierce argument, inadvertently locking eyes with a woman, played by Julie Bataille. Suddenly, she’s at his side, pulling him into a fervent kiss, only for her jealous boyfriend, Axel Kiener, to intervene violently. The scene ends with the couple leaving the station laughing, as the bewildered tourist is left reeling from the encounter.

“Loin du 16ème,” directed by Daniela Thomas, takes a poignant turn in the 16th Arrondissement. Here, Ana, played by Catalina Sandino Moreno, is a Spanish immigrant who delivers her baby to daycare while singing a loving lullaby. Following a heartfelt farewell, she embarks on a long journey to her employer’s upscale apartment. Though the employer (who remains faceless) asks Ana to work longer, Ana’s heart feels heavy as she replicates the same lullaby for another baby, drawing a touching parallel between her life and her sacrifices.

In “Porte de Choisy,” directed by Christopher Doyle, Monsieur Henri, portrayed by Barbet Schroeder, struggles to locate a hair product store in Paris’ Chinatown. Upon arriving, Madame Li, played by Li Xin, greets him quite bluntly. Unfazed, he presents his sales pitch, which initially fails to impress, prompting him to leave. But fate intervenes when, at a nearby Buddhist temple, the monk confiscates his phone, only to pass a message from Madame Li about her newfound interest in his products. Their ensuing makeover session culminates in a tender moment where Henri compliments Madame Li’s transformation, evoking a blossoming romance.

In “Bastille,” directed by Isabelle Coixet, a husband, portrayed by Sergio Castellitto, sits at a café in the 12th Arrondissement, lost in contemplation about his terminally-ill wife, played by Miranda Richardson. As the gravity of her condition hangs over him, he resolves to stay with her through her last days. In a heartwrenching turn, years after her passing, a chance encounter with a woman in a red raincoat reignites his memories of love and loss, highlighting his enduring emotional journey.

“Place des Victoires,” directed by Nobuhiro Suwa, sets a somber tone in a small apartment in the 2nd Arrondissement, where Suzanne is engulfed in grief over the death of her son. Played by Juliette Binoche, her sorrow is palpable as her husband, Hippolyte Girardot, attempts to comfort her. When she hears her son’s voice, led by a mysterious Cowboy, portrayed by Willem Dafoe, she is given the chance to reconnect with her lost child, leading to a profound spiritual awakening.

In “Tour Eiffel,” set in the 7th Arrondissement, a quirky mime, played by Paul Putner, entertains himself while reflecting on his past. His story unfolds in a whimsical manner as he navigates through his imaginary surroundings and interacts with people in humorous ways. Following a series of events that lands him in jail, he meets a delightful female mime, portrayed by Yolande Moreau, suggesting the blossoming of their enchanting romance.

Shifting gears, “Parc Monceau,” directed by Alfonso Cuaron, presents an inviting scene in the 17th Arrondissement with a continuous tracking shot featuring Vincent, played by Nick Nolte, who is hurrying to meet his daughter Clare, played by Ludivine Sagnier. It humorously oscillates from anxious moments between a father and daughter worried about a third party named Gaspard, only to reveal that Vincent is the caregiver while Clare enjoys a night out with friends.

In “Quartier des Enfants Rouge,” directed by Olivier Assayas, we meet Ken, a small-time drug dealer who finds himself captivated by a glamorous American actress, Liz, played by Maggie Gyllenhaal. Their encounter signifies a dance of attraction and desperation, leading to a whirlwind of emotions as their paths intermingle amidst the chaotic backdrop of a party scene.

“Place des Fetes,” directed by Oliver Schmitz, introduces Hassan, a young African immigrant portrayed by Seydou Boro, who is being helped by local EMT Sophie, played by Aissa Maiga. As their interaction unfolds, we learn about the sweet love that has bloomed and the struggles they face, blending themes of hope and heartbreak as Hassan’s fate hangs precariously.

In “Pigalle,” directed by Richard LaGravenese, the bar scene comes alive as Bob, a British businessman played by Bob Hoskins, engages in playful banter with Fanny, portrayed by Fanny Ardant. Their flirtation, tied to their underlying relationship complexities, culminates in an argument that showcases their chemistry and shared history, emphasizing the balance of humor and tension in love.

Lastly, “Quartier de la Madeleine,” directed by Vincenzo Natali, offers a stark contrast with a suspenseful horror feel as an American tourist, portrayed by Elijah Wood, stumbles upon a vampire engaging in her sanguine ritual. The transformation from vulnerability to connection plays a key role in this segment, as he finds himself drawn into her dark world.

Finally, “Pere Lachaise,” a piece directed by Wes Craven, takes us to the 20th Arrondissement where the British newlyweds, played by Rufus Sewell and Emily Mortimer, navigate their relationship amidst the plays of Oscar Wilde’s ghost. His presence leads to realizations about love, rekindling the embers of their affection, and guiding them toward reconciliation.

As the film draws to a close, a delightful montage showcases the intertwined lives of these characters across the city, with the final shot capturing the magic of Paris under a spectacular night sky filled with fireworks and illuminated monuments.