If one were to summarize in one word the new feature film d’Edouard Baer OPEN at NIGHT, it would be ” freakish “. Whether it’s Luigi’s (the main character that he is), this ride paris night in which it takes us, or even to her gallery of supporting roles, is a whimsical, fun and original. Through a funny road trip, the director paints with humour and apparent lightness, the portrait of one of these men, singular, one has much desire to wring their blow of the kiss !
Luigi is the director of a Theater completely lunar, who seems to flee all material issues (too boring and lowly, down-to-earth) in favor of that which amuses, or distracts. Nevertheless, it is smart enough to surround himself with dedicated people who ensure the concrete realization of its projects the more wacky, especially Nawel (Audrey Tautou), her assistant and best friend. Until the day when, once again, one too many times, to force them to deal with the problems above the leg, Luigi compromises its theatre, its employees, and the esteem of his relatives. It was a night to save the day. A night in which he arpentera Paris in every sense and will be of surprising encounters, with Faeza (Sabrina Ouazani), an intern from Sciences Po, startled by the methods may not be academic.
The element that impresses from the outset in OPEN NIGHT this is Paris, a character in the film as a whole. Uptown to the more popular, passing through Montreuil, Edouard Baer invites us to explore the city at night, such as he loves. As of this trip, a little wacky, supported by a soundtrack alternating between various musical worlds ranging from brass band to eastern music, it is carried away with delight. This festive and modern mix, although in a spirit a little “bobo” which is not unpleasant, there was even a form of poetry, a suspended moment.
At the discretion of the events improbable, strung together, we discover also a plethora of supporting roles which, by their diversity, their sensitivity, their generosity, but also their susceptibility or their injuries and disappointments, give this work a very human side. And then, in addition to the presence of fun-but less and less original of a chimpanzee (recently in Pattaya and Victoria), there are two portraits of women interesting. The first, under an apparent fragility, proves to be of a solidity to any test, it is clearly the pillar of Luigi (Nawel). The second, on the contrary, désarçonnée by the behavior of this curious pattern, which puts into question all certainties and leaves finally appear a little sweetness and femininity hidden behind its shell (Faeza). It is sometimes at the limit of the cliché, but no matter, because it all fits together perfectly in this universe is constantly on the line between the absurd and the brilliant that one wonders if he will eventually break the mouth or continue to give us pleasure.
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But the greatest strength ofOPEN at NIGHT, it is, of course, we do love LUIGI, which, moreover, is reminiscent of Edouard Baer as it appears in the media. In fact, he finds this form of theater characterized by a hint of exaggeration and shifting, and above all, a kind of irony that has the good taste not to be in front, but concealed by the attractive parades. It is to be feared from the start that this would be boring but it is not so much the dialogues are written with humour and almost self-deprecating. As well, how not to be seduced by this man who presents us life as a grand ball, in the manner of a character in Italian comedy, and sends waltz with so much charm who forced ?
All the talent of the director and performer is so we soften it by letting us see the loneliness deep in which the plunges its functioning involuntarily “out of standards” and the reliance on the human relationships that it engenders in him. When one understands that it is vital for this type of man to reassure himself on his ability to be liked, it includes the mode of seduction that he adopts all the time with everyone and we will even forgive him. If, by moments, this way of making fun of anything can irritate or injure, each finally finds his account in this charming hypocrisy, even cowardice. The strength of the deceivers, is it not, to get anything they want, to convince the other that with him (or her) things are different ?
OPEN THE NIGHT is so an episode sympathetic to the life of this irresistible anti-hero, who, with a little luck, a lot of nerve, and as much aplomb, always end up out brilliantly. In an atmosphere a bit realistic sometimes, Edouard Baer takes us on a ride in the city and in the lives of the artists, including the need for freedom and the concern shifted are often beings that are as elusive as endearing.
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