I like the way Klapisch brings these characters back together, through the birth of Tomasi and Sophie's baby. It's a great way to recall the memories of youth...waiting for a baby to be born.
Tomasi has died and the group is discussing their memories of him, and of a time ten years before when they were carefree kids looking for love, friendship, meaning, in their lives. The vignettes that Klapisch has painted for this movie are full of bittersweet humor and energy. For example, the scenes where they're deciding what party to join, what demonstrations be part of, what organizations to form, trying to get into the feminists group. "If we form a club, we'd let you in". It shows young adults on the brink of adulthood, yet still able to fight the urge for responsibility, at least for a little while. It very much informs the viewer of later Klapisch works like L'auberge Espagnole and Les Poupees Russes. Klapsich is particularly adept at honing in on one character while at the same time the painting the periphery characters with the same multi-dimesional brush.
It is both a sad and happy film at the end and very much true to life. There are no grand revelations in the characters, episodes of each of their lives are lived and they've moved on gradually maturing into who they've become. It is a story we can all relate to.
Tomasi has died and the group is discussing their memories of him, and of a time ten years before when they were carefree kids looking for love, friendship, meaning, in their lives. The vignettes that Klapisch has painted for this movie are full of bittersweet humor and energy. For example, the scenes where they're deciding what party to join, what demonstrations be part of, what organizations to form, trying to get into the feminists group. "If we form a club, we'd let you in". It shows young adults on the brink of adulthood, yet still able to fight the urge for responsibility, at least for a little while. It very much informs the viewer of later Klapisch works like L'auberge Espagnole and Les Poupees Russes. Klapsich is particularly adept at honing in on one character while at the same time the painting the periphery characters with the same multi-dimesional brush.
It is both a sad and happy film at the end and very much true to life. There are no grand revelations in the characters, episodes of each of their lives are lived and they've moved on gradually maturing into who they've become. It is a story we can all relate to.