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Boy meets girl leos carax

But whereas Jarmusch's transactions almost never buy, Carax' provides frequently gush. gidl I'm various to see his decision body of work. Various a lovely law this is for the bad lover: This is my first sense of any Carax film, and I was published and delighted by the fixed quality of "Boy Meets Deal.

She wants to be noticed. The big city has rejected her caarax to act and has taken her man away. The sound mefts water running in Boy meets girl leos carax tub asks if she intends to bathe or the other. But there is a drive for life in her yet. Momentary jubilation, glimpses of things she loves like music and tap dancing creep into her life. Part of why this film works is the gentle glaze massaged into the black and white image. The soft effect powders the faces, without blemish: The camera moves gracefully, sometimes with much style, but never overdone. There are slow pans and floating tracking shots.

In most scenes, the characters are illuminated richly and everything around them lleos off into blackness. Neets effect is theatrical on the one hand and self-important on the other. The light is cast at every moment on jobless twenty year olds rather than Leso. The city of light grl, neglected in darkness. When Alex and Mireille finally meet late in the party, late in the film, it is apparent nothing will happen between them. They have no Boy meets girl leos carax, trading in learning about each other for talking about themselves. Mireille is too distraught over Barnard and the difficulties of big city life as a failed actress.

What ever will she do? Her answer is feigned suicide. Mireille continues to drown herself in wine. Alex bargains for love in the form of a maniacal monologue he himself refers to as diarrhea. But oh how Alex enjoys relieving himself. He will do anything she wants. He will love her until she is shriveled and gray—through all time. But it gets better, for Florence will witness their magnetic love and want to be a part of it too! Their love will multiply with this new addition. Carax seems to understand picking up a girl at a party is sometimes just about staying until the end. Waiting for the train to leave, Alex uses the bathroom in the station bar, but is distracted by a drunkard playing pinball.

The bouncing lights hold his attention like a cat chasing a laser pointer. He rushes to her flat. When Alex bursts in she hides the scissors to her chest and as he embraces her from behind, the scissors dig in. He tells Mireille at the party that he likes to view his life as a biography. He reads of his own actions rather than takes part in them. And because of that he is freed from the responsibility of feeling consequence. He's got a PhD in the human yearning for love. But it's not a great film. It's charming but rather light. It reminded me most of the films of Jim Jarmusch. By a very nice coincidence, Jarmusch and Carax both released their debut films in JJ's was "Stranger Than Paradise.

"Boy Meets Girl": In Love with Myself

But whereas Jarmusch's characters almost never emote, Carax' characters frequently gush. It's hard to believe that I've never heard of Carax until this year. I don't know how his work slipped by me all these years. Surprisingly, he never developed much of a reputation in the US. I discovered him by way of the trailer for his brand-new film, "Holy Motors," which showed at Cannes this year but has not been released in the US yet. Thank you, Vite, for sending me the trailer.

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