Paul, a teenager in the underground scene of early-nineties Paris, forms a DJ collective with his friends and together they plunge into the nightlife of sex, drugs, and endless music.
Félix de Givry Pauline Étienne Vincent Macaigne Hugo Conzelmann Zita Hanrot Roman Kolinka Ugo Bienvenu Vincent Lacoste Arnaud Azoulay Laurent Cazanave Paul Spera Arsinée Khanjian Juliette Lamet Greta Gerwig Léa Rougeron Laura Smet Golshifteh Farahani Olivia Ross Sigrid Bouaziz Zite Vincendeau-Verbraeken Claire Tran Julian Starke Sébastien Chassagne Pierre-François Garel Brady Corbet Michael Bruno Jon Johnson Brune Hazelet Emma Domino Show All…
Eden - Lost in Music, 에덴: 로스트 인 뮤직, Ēdene, Eden: Lost in music, Эдем, Eden – Lost in Music, 伊甸园, エデン, Cennet
CanadaR
Toronto International Film Festival
Spain
San Sebastian Film Festival
France
La Roche-sur-Yon International Film Festival
USA
AFI Fest
Netherlands14
France
Brazil16
Germany12
USAR
Sweden15
South Korea18
Switzerland12
Ireland15
Poland16
JapanPG12
USAR
Brazil
Canada
France
Germany
Ireland
Japan
Netherlands
Poland
South Korea
Spain
Sweden
Switzerland
USA
Out of all the Daft Punk songs used in the film, they left out the most fitting one, "Too Long". Because that's exactly what this movie is.
"It's euphoric and melancholic, just like we like it."
Kicked out of your own party.
If the films of Mia Hansen-Løve are haunted by the merciless march of time, they’re less preoccupied with its passage than they are with its ellipses. Whereas Richard Linklater plays the subject like an accordion, collapsing the years together and pulling them apart in order to transform the space between, Hansen-Løve bangs on it like a drum, her staccato stories finding beautiful music in the off-beats. Eden is the 33-year-old’s fourth feature, and while its male lead, historical interest, and occasional American setting might suggest that it’s a departure from her previous work, this riveting but resolutely uncool epic ultimately feels like less of a new direction than it does a new perspective. The beat may have changed, but the song remains the same.
FULL REVIEW ON LITTLE WHITE LIES: www.littlewhitelies.co.uk/features/articles/tiff-2014-eden-27810
"stand tall, sing along. sing a happy song, a happy song to help you forget."
the credits pour and the emotions hit. i miss my friends. i miss dancing around like a fool with them. i miss our cheesy grins. i miss the laughs we share. i miss not being stuck in one place. i miss truly feeling alive. i needed this film. as the titles glowed onto the screen i knew it'd get to me. it reminded me of the times i've had. the times to cherish, the times to grow from and the times to find hope in. but for now i'll try to look forward. i'll play daft punk's 'one more time' on repeat and dance. dance for the good times had and for the good times still to come.
didn’t expect this to be historical fiction about Daft Punk. the bit where they keep getting rejected from clubs because no one recognizes them with their helmets off is funny. should’ve ended with an epilogue that says “and that spurned electronica duo? yeah, they went on to make a little ditty called Instant Crush feat. Julian Casablancas …”
Greta Gerwig as manic American dream girl was another welcome surprise! to me, this takes place during the time period when Frances Ha went to Paris and saw Puss in Boots alone. the timeline doesn’t match up but that doesn’t matter actually.
but out of everything, i keep coming back to the sequences where a sea of French people dance and sing along…
The third film that I've seen at NYFF in need of a more concise editor, though I can see how, if this film was based on the experiences of one of the co-writers, it could have been difficult for Sven and Mia to decide what they may have wanted to cut. The first thing that you'll probably notice about Eden is its strong visual style, from the colorful cinematography (which does start to dim alongside the lifestyles of the characters as the movie progresses) to the beautifully stylized text used to structure the film into segments. I think that the visuals were probably my favorite aspect of the film... the acting wasn't bad, but it wasn't anything special either. The script is damn good, with some really funny jokes that contrast certain moments of genuine melancholy - just like the tracks used in the film, a balance of elation and sorrow.
46/100
I've spent (okay, wasted) a lot of time on Twitter arguing with people about Hansen-Løve's decision to make a film spanning nearly 20 years in which none of the characters visibly age. (Fans claim that this is designed to convey the protagonist's stasis as life passes him by, which would be a compelling argument if [a] the people around him aged and especially if [b] Hansen-Løve's previous film hadn't done the exact same thing. Interviews confirm that she was intent on avoiding bad makeup and opted to do basically nothing instead; I'd have taken that one step further and really done nothing by not making this particular film, knowing that the medium will partially defeat it.) In truth, though,…
One of the few movies to both understand and forcefully depict that there's no such thing as peaking in your youth; you were just young.
