Aggressively boring, but the rhythm starts to cast a spell. Good characters, good acting. I like the pacing, the way the story skips forward in time. It's kinda crazy how mundane the pseudo-intellectual ruminations re: The Age of Information were. No interesting observations, no particularly boneheaded ones either. The scene where Leonard tackles Selena onto the bed was really cute.
I was more absorbed than I expected watching Assayas's playful arthouse offering. I doubt a more entertaining film can be made about e-publishing than this (i loved the literate script that is full of his usual preoccupations with technology, consumerism ect.) and appreciated how these issues commented on the casual infidelities which reflect our cinematic inheritance of the overly romantic French New Wave members.
Great cast with a decent script and good performances that attempts to mirror the struggle for an authorial voice with the need to feel relevant in a constantly changing world. It's by no means a new topic for the publishing world but thematically it can also be seen as an examination of traditional French lifestyle traits such as taking on a lover. 3.5 stars
Assayas continues examining the borders of fiction and real life. This time it’s art imitating life, or perhaps: art abducting life. There’s lots of talk about autofiction, the role of literature, publishing industry, digitalisation. Much talk in general, and drinking wine. Revenge is mentioned yet never carried out during the film (later perhaps yes). It’s the very, very discreet charm of the literary bourgeoisie.
Assayas is bourgeois (something one enters his films knowing) and I think while this film makes that more apparent than some of his other films, it is still a very strong, if flawed, character piece with some interesting editing choices that give the sensation of whiplash and un-comfortableness.
Noticeable step down for Assayas after the one-two punch of Sils Maria/Personal Shopper. The characters are cyphers, representing viewpoints on a variety of complex topics such as political honesty, the rise of new media, e-books vs print, writing ethics. These are rich, heady debates even if it is more panel than drama. To liven up matters, most of the characters are having affairs because this is a French comedy.
Alors peut-être que je suis passée à coté de quelque chose ou que je n'ai aucun second degré mais je ne m'attendais pas à autant de snobisme au cinéma. Ce film "réaliste - bobo parisiens" s'affirme dans un discours d'élitisme culturel assuré qui, personnellement, m'a mise en colère. Mais bon, peut être dois-je envisagé un second visionnage pour mieux comprendre les intentions du réalisateur ???
Il veut faire du second degrés, mais ça passe vraiment difficilement. C'est tellement bavard qu'on dirait que c'est un exposé, plus qu'un essai ou une satire. Le film reste trop théorique. La réflexion sur l'auto-fiction est chiante et pas très intéressante. Norah Hamzayi est d'une sincérité très très troublante !
An amusing, if somewhat tone-deaf film. There are several ideologies and musings at play, but never a compelling through line to thematically stringing them together. Most problematically, Assayas isn’t offering a unique POV. His ideas about the publishing world and printing have been deconstructed to exhaustion. Non-Fiction feels like Woody Allen-lite with a french twist.
[More like 4.5] Really entertaining typical 'french comedy' by Assayas, who manages to fit into the movie topics about the digital revolution whose implications are hard to fully grasp even today: by balancing between the light clashes that follow the character's choices, and the heavy-weight topics of what in the world is changing or not - with a deep analysis of both sides, and cinephile references all over.