Critic Consensus: 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.
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as Paul Vallée
as Thomas Bangalter
as Guy-Man (Daft Punk)
as Bastien Radio FG
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Critic Reviews for Eden
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.
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.
In the realm of disco lights and thumping bass lines, mounting debt, hungover mornings and interchangeable sleeping partners, there's a real love story here about a man and his passion for his loops and beats.
Audience Reviews for Eden
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."
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