Coeurs

Coeurs (2006) by Alain Resnais (best known as one of the brilliant critics and directors of la Nouvelle Vague) is a small-scale, bittersweet character study that can we enjoyed by casual moviegoers and critics alike. Typically, one thinks of Resnais' work as heavy and cerebral--such as in, Hiroshima mon amour, and although this film explored 'heavy' themes I feel like it was a far more approachable film than what one could expect from the renowned auteur.

The film begins with a sweeping overhead establishing shot around the 13ème enneigée de Paris. We soon zoom-into the intimate lives of some rather normal Parisians: a couple looking for a new apartment, two realtors, a young woman, and a bartender. They all lead seemingly separate lives, but fate and/or love would have their lives intertwine just a little. Ultimately, the film focuses on theses six people and their attempts to maintain and achieve meaningful relationships. The cohesion between scenes and the character development is slow (due to constant cuts from the comings and goings of each characters lives) but the cohesion and development does occur, and rather brilliantly. Relentless snow dissolves were corny... but forgivable considering the thematics the motif presents (i.e., cold, loneliness, dreariness). Furthermore, the film was an attempt of Resnais' to recreate Alan Ayckbourn's screenplay Private Fears in Public Spaces: therefore, the dissolves seem to act as a charming little curtain between scenes.

Resnais' use of light was very audacious but controlled nonetheless. Several examples suffice: the repeated bar scenes in the hotel lobby, the ending montage with direct overhead lighting, the club-like lighting for the risqué bedroom dancing... Resnais easy makes use of lighting to highlight certain moments, making them either dreamy or more poignant.

I have one complaint: the music was corny and unforgivable. The slow piano music just seem to be a constant reminder of the falling snow (as if we didn't have enough) and failed to support the mood of all the scenes. Some scenes were frankly hilarious but the music was just distracting or boring. I don't have to qualify that one anymore than that. Argue with me, I dare you.

Resnais has had a prolific career of which Coeurs is his 47th film, but he is still best known for his early works that dealt with issues of trauma and memory. If you find these topics a bit too much to approach than maybe you're looking for something more like Coeurs.