Paris Can Wait
Directed by Eleanor Coppola
A woman at a crossroads traveling to Cannes along with her successful film producer husband, finds herself on a two-day road trip with his business associate. What follows is a carefree journey replete with diversions involving picturesque sites, fine food and wine, humor, wisdom and romance - reawakening Anne's senses and a new lust for life.
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★★★½ review by Kurt Walker on Letterboxd
★★★★½ review by Graham L. Carter on Letterboxd
"How painful and exquisite life is..."
cinema as food, wine, laughter... so beautiful. way better than any before trilogy movie
★★★½ review by Rembrandt Q Pumpernickel on Letterboxd
Where is the job sign up sheet for lazily travelling around to delicious museums, eating beautiful food, and shittily seducing Diane Lane?
Guess I can cancel my subscription to Boring Men's Quarterly.
★★★★★ review by Logan Kenny on Letterboxd
it's interesting to me the differences between eleanor and her husband francis in how they depict the most tragic moment of either of their lives. in the 1980s their son was killed in a tragic accident, and this grief has lingered for decades and will linger forever. and in each of their latest films, francis' twixt and this film here, grief is a massive component of the central character's existence. in their old age, they have decided to make films about their grief 30+ years on, as they get older they must reflect on how their son never got the chance to grow any older, that he will forever remain young. the fascinating aspect of this to me is how in twixt, francis depicts the death of the protagonist's daughter as something very recent, like it was just yesterday, the grief immediate. while in paris can wait, eleanor's protagonist lost her baby decades ago and yet still carries around a photo of him, he will always be a part of her no matter how much time passes. it seems key to me that the mother feels the distance and sees her child as a baby, the little baby that she gave birth to all these years ago. in paris can wait, it's a necessity since this baby barely made it through a month of life. but in real life, her son had twenty plus years of life, maybe it's just easier or happier to imagine him as that little baby he once was, all those years ago, so full of hope and potential, where all the pain of the world was yet to come, where his death seemed unimaginable. he will always be a part of her, her baby boy.
★★★½ review by Juan on Letterboxd
"Ann, you're human and you've been to the depths of what that means."
One of the most wonderfully casual movies of the year. Doesn't always hold one's interest and it's as slight as everyone complains, but that's not necessarily a bad thing. The jazzy score makes for an absolutely wonderful complement to the journey on screen and Diane Lane makes for such a lovely screen presence. She's got real chemistry with Arnaud Viard, even when he's going on and on about wine or food.
It's a fun, simple journey through France, where the director seems as fascinated with every little thing - be it art or food or nature - as the protagonist is. Some of its dramatic beats feel a little forced, but others (especially that of Lane discussing the child she lost) are exceptionally handled. I'm especially fond of the way Eleanor Coppola handles the relationship between the protagonists without any hang-ups or unnecessary melodrama. A kiss is a kiss. A woman is a woman.
If nothing else, this movie is worth every cent simply because nothing this year will be as amusing to me as Eleanor Coppola using her son-in-law's music in her film and making a point to say his band's name.
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