The new movie “Paris, 13th District” appears—and aspires—to be a fable for our era.
High above the streets of Paris, the camera stirs. Surveying the shapes of buildings, and gazing through windows at the lives being led within, it slowly descends, until we arrive at one young woman, and the sound of singing. Such was the opening shot of René Clair’s wonderful “Under the Roofs of Paris” , and now, nearly a century later, the same thing happens at the beginning of “Paris, 13th District,” the latest film from Jacques Audiard..
What springs from this sequence, against expectation, is joy. Check out Émilie’s sly mid-coital smile, and the dance that she can’t help breaking into as she goes back to work, and that Audiard films in rapturous slow motion. Rather than frowning on her fecklessness, or diagnosing a case of anomie, he simply lays out the tactics of the modern thrill-seeker for our perusal.
“Paris, 13th District”—the original and more redolent title is “Les Olympiades,” named for the towering projects on the southern rim of the city—is written by Audiard, in league with Léa Mysius and Céline Sciamma, the director of “Girlhood” and “Portrait of a Lady on Fire” . The plot arises from three stories by the graphic novelist and cartoonist Adrian Tomine, whose work has often graced this magazine.
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