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Eden uses 1990s club culture as the appropriately intoxicating backdrop for a sensitive, low-key look at aging and the price of pursuing one's dreams.
All Critics (101)
| Top Critics (27)
| Fresh (84)
| Rotten (17)
Paul describes a song he likes as existing "between euphoria and melancholia," which is the balance the movie he's in strikes as well, as interested in joy as it is in loss. Which may be the best thing these stories of not making it bring to the table.
Absorbing and very moving.
While Hansen-Love hits the major chords in Paul's life effectively and creates a sense of time expanding before collapsing into memory, the truth is "Eden" is often tiring to sit through.
Eden is the kind of movie that hits you when you least expect it. Just when I thought it was a mess, its aimlessness began to make complete sense.
Perhaps what Hansen-Løve lacks is perspective. The movie runs a very long two hours and 11 minutes, and the excess is easily felt.
Mia Hansen-Love's Eden is set at the throbbing heart of the Parisian techno music scene. But be brave. It resonates with much bigger themes than the need to meet a disco doorman's dress and deportment standards.
Somewhere in this film of club scenes that are often tedious and indistinguishable from each other is the bare bones of a decent story: what it's like to outlive the fashionability of one's talents and tastes.
Eden's main strength is its ability to capture the sheer ragtag spirit of its DJs and to make that the trajectory of the story.
I just want to watch, listen, and get down to Eden, which, thankfully, is long and meanders like a cloud. And in the way you do not ask where a cloud is going or where it is coming from-a cloud is just a cloud-you must not ask where Eden is going.
"Eden" is almost as good as Richard Linklater's "Boyhood" at capturing a sense of time passing while its characters are busy living their lives.
Eden forces a few things, but it's punctuated with enough moments of genuine exuberance and humour to offset its flaws.
A a tour de force that's bound to give the French writer/director (Mia Hansen-Løve) the U.S. recognition she's long deserved.
While I think most cub scouts have better survival skills, this movie was unique and intriguing. It held my interest. If you turn your brain off and just sit back and enjoy the psychological turmoil, it's quite enjoyable, despite its delicious darkness. The Barbie-doll girls were annoying, as were the testosterone fight-scenes and the blatant stupidity, but still, I surprisingly really enjoyed this movie!
It's a unique examination of an artist, one who experiences a brief moment of relevancy before quickly fading into obscurity . . . which is somehow sadder than being a total failure.
"Eden" might not be the deepest or most evocative movie ever, especially as it concerns the house music scene over a twenty year period. Of interest however is the way the movie captures the passage of time as Paul(Felix de Givry) never seems to age(cue obvious reference about him having a photograph that ages while I look around for an appropriate "Penny Dreadful" reference) while he pursues his dreams. At the same time, life seems to be passing him by, as lovers come and go, first Julia(Greta Gerwig), a married American, and then Louise(Pauline Etienne). The frightening part is when Paul's friends start having kids, instead of trying to defend "Showgirls."
Hansen-Løve's intimate, low-key approach may come off as a bit too stiff for the film's own sake - mainly, the dialogue sounds markedly stiff and the delivery of the lines by the actors also -, but there is a sensitive quality to her story that makes it curiously affecting.
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