Review: Paris Memories

Here is Paris Memories review: Deep drama on terror attack aftermath.

Paris Memories by Alice Winocour describes one woman’s memory of an incident that was obviously inspired by the terrorist events in Paris in November 2015.

Mia (Virginie Efira) sustains injuries in a restaurant shooting that is comparable to those that took place close to the Bataclan theater. Later, she starts a psychic healing process in an effort to recover her lost memories of that evening.

The original Revoir Paris, which means “to see Paris again,” conveys both recapturing something lost and seeing the city for the first time. The English title, however, clumsily conjures up cozy nostalgia. The latter is very much the goal of the movie, as Mia learns about a side of Paris that is typically off-limits to the white bourgeoisie.

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Mia wants to locate the African restaurant employee who she shared a hiding place with after piecing together her memories of the attack. However, the workers that did survive have vanished. Having been hired outside of the established system and were primarily immigrants.

As she learns about the divide between the city’s rich and underprivileged. Mia’s search for the missing guy becomes an endeavor of understanding and education. Even though this section of the movie still has a whiff of middle-class social tourism on the wrong side of the tracks. Winocour’s idea is still worthwhile.

In terms of the intricacy and gravitas of its ideas, Paris Memories is the director’s most ambitious drama, even though it is on a smaller scale than Winocour’s most recent picture, Proxima (2019), which is about a female astronaut. Nevertheless, despite its good intentions, it doesn’t fully work.

While the disintegration of her connection with her medical partner Vincent (Grégoire Colin) could have been handled better. Mia’s slowly developing romance with fellow survivor Thomas (Benoît Magimel, personably sly) feels like a sop to viewer expectations. Mia’s concern that her partial forgetfulness may be concealing immoral behavior on her part. As per one woman’s irate accusation, is a more intriguing issue, although it only receives a cursory conclusion.

There are also some awkward direction decisions, such as Mia’s inconsistent use of narration and the overuse of slow motion. As well as the Shyamalan-esque moments when she sees the dead. Even though Efira is too frequently obliged to halt in mid-step and stare ahead in realization. This doesn’t detract from an otherwise fascinating performance.

Efira, one of the most dependable actors in contemporary French cinema. It is a cinematic Everywoman who consistently exudes an appealing warmth. This scene’s easy-going radiance in the beginning contrasts sharply with Mia’s later astonished sleepwalk, adding psychological depth and emotional weight to a movie that, despite its noble intentions, can occasionally feel glibly formulaic.

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