Eden

[TIFF EXPERIENCE] I don't know, man. If you're like me and you think house/garage music is trashy nonsense, then you're probably just going to find this to be a really poor-paced bore-a-thon about a couple of shitty artists who party and cry a lot. The fact that it tries to be so much more than that is just embarrassing.

A sprawling epic that is exactly as exuberant, evocative, rhythmic and organic as the music scene it so lovingly portrays AND it has an entire scene dedicated to explaining why Showgirls is a great movie, so yeah, I'm a fan.

Inventing new type of music is hard such as making a movie about someones life. Eden and French house both have the same problems. They are joyful for some moments but in general they are boring to death and both take so long to finish.

Tries to create a poetry and a feeling of melancholia by showimg the time passing by and the decisions and cycles in our lives but except a few club scenes and s sincere attitude, it offers nothing.

Disarmingly melancholic Bildungsroman using the rise of Chicago & French garage/house music as its narrative context. Largely benefits from being intensely personal through Hansen-Løve's vérité sensibilities, and is painfully relevant to anyone who has struggled to move on from their security net and find their place in an increasingly uncertain world. A shame Greta Gerwig is just absolutely fucking awful in this and ruins every single scene with her stilted delivery. Merde.

Gotta love those club scenes. The last like 25 min are some of the hokiest shit ever tho. Like zero empathy for the lead. Always love to see Greta Gerwig.

For a movie about the evolution of a party music genre, this is surprisingly boring. The characters are totally uninteresting. Luckily there are some decently directed scenes so it isn't a total loss.

Attempts to do what BOOGIE NIGHTS did for the adult filmmaking scene in 1970s-80s San Fernando Valley to the electronic music club scene in 1990s-2000s Paris, minus the darkly comedic tone and setpieces. It does, however, present a softness and humanism close to the one present in BOYHOOD. Not overtly amazing, but solid, and sometimes poetic.

Paul (Félix de Givry) beschreibt den Sound, der ihm mit Quentin vorschwebt für ihr gemeinsames Projekt "Cheers": Zwischen euphorisch und melancholisch soll es klingen, eine Mischung aus Soul und Maschinen. Ungefähr so klingt auch Mia Hansen-Loves vierter Film, der eintaucht in die "French House" Szene der 90er... mehr auf cinegeek.de

Feels like a French extension of what Joachim Trier was doing with his trilogy. Hansen-Løve approaches subjects of malaise, ambition, imposter syndrome in young creatives and scatters them over a sprawling passage of time that doesn't linger on even the most emotional moments. I was totally heartbroken by the end, and the use of Daft Punk's presence (and absence) was just perfect.

Being a struggling musician in my early 30s, it feels almost unfair for me to even rate this, since so much of it inevitably strikes a chord, almost regardless of whether Hansen-Love is doing anything particularly significant with this material or not. It's not exactly groundbreaking stuff by any means, but she brings such a lived-in, deeply felt sense of authenticity to it that I can overlook some of the weaker moments.

Life will catch you - even if you're not running away. Nobody's life stays pure. Every party ends. And Eden shows all this with a sense of humor and a humanity force its heartbreaking and warm at the same time. Eden is "wasting" a lot of time on the good years, how everything is right and fun and even the drugs are just a toy. Which makes this soft downfall even harder to watch. There is no such thing as an infinite freedom. And Hansen-Love is showing us that, by taking this urge seriously.