Paris Belongs to Us (Paris Nous Appartient)

Critics Consensus

No consensus yet.

85%

TOMATOMETER

Total Count: 13

71%

Audience Score

User Ratings: 781
User image

Movie Info

Paris Nous Appartient begins at the end-with a mysterious suicide. Curious as to why a young Spaniard would take his own life, Betty Schneider visits many of the places frequented by the dead youth. She learns from theatre-director Giani Esposito that the suicide victim was part of a sinister international conspiracy. She further learns from American-expatriate Daniel Crohem that Esposito has also been targeted for persecution by the conspirators. By the time Schneider realizes that the conspiracy was merely a figment of the neurotic Crohem's imagination, the terrified Esposito has killed himself. The intrigues of the plot take second place to the film's centerpiece: an eternally-in-progress stage production of Shakespeare's Pericles, Prince of Tyre. Now regarded as one of the pioneering efforts in the French "New Wave" movement, Paris Belongs to Us was also the first feature-length effort of director (and former critic and film theorist) Jacques Rivette. ~ Hal Erickson, Rovi

Watch it now

Cast

Critic Reviews for Paris Belongs to Us (Paris Nous Appartient)

All Critics (13) | Top Critics (5)

  • Rivette's tightly wound images turn the ornate architecture of Paris into a labyrinth of intimate entanglements and apocalyptic menace; he evokes the fearsome mysteries beneath the surface ...

    Dec 7, 2015 | Full Review…
  • All this is overblown, making it pretentious, slow-moving and fairly confused. It takes much too long to tell its over-complicated story.

    Nov 12, 2007 | Full Review…

    Variety Staff

    Variety
    Top Critic
  • By no means this great filmmaker's best, it's still an auspicious beginning.

    Jun 24, 2006 | Full Review…
  • This uncertain first feature from Jacques Rivette from 1961 grew on me -- but it took a while.

    May 6, 2006 | Rating: 3/5 | Full Review…
  • Jacques Rivette's troubled and troubling account of Parisians in the late 50s remains in some ways the most intellectually and philosophically mature of them as well as one of the most beautiful.

    Jan 1, 2000 | Full Review…
  • Some pretty yawn- provoking detail, as well as its basic, though not necessarily insurmountable, disadvantages of ambiguity, woolliness and apparent triviality.

    Jul 17, 2018 | Full Review…

Audience Reviews for Paris Belongs to Us (Paris Nous Appartient)

  • Jul 29, 2014
    Filmed over the course of three years, and considered as one of the pioneering efforts in the Nouvelle Vague, Rivette's absorbing debut is a mystery film that refuses to be conventional, even if the three-year time span rises some inconsistencies to the surface. Since the very beginning, Rivette asks us to make a leap of faith. What is introduced as a suicide slowly escalates into the investigation of an international conspiracy, where the lives of a group of Spaniards seems to be in danger. The style alone and the events discussed, even if misunderstood for a considerable amount of time during the first half, are interesting enough thanks to the performances and some impressionistic glances at the city of Paris interacting with this bunch of mysterious souls. Nothing is as clear as it seems, and yet, you want to keep figuring out more. In this sense, Betty Schneider's character, Anne Goupil, becomes the easiest one to empathize with. The rest of the characters are strange Hitchcockian derivatives with unclear and maybe paranoiac personal issues. Beyond the performances and how events are presented in fragments, which may frustrate some viewers as it takes a lot of time to explain those pieces of story, the style is the one that keeps your eyes glued to the screen. For a debut, it is an interesting effort, showing close-ups and wide vistas of Paris as if it wasn't a first directorial effort. Ironically, the film presents this conspiracy plot with a theatrical backdrop, where a key character directs a play adaptation of Shakespeare's Pericles, maybe signaling some possible past, present or future tragedy, with the intensity of classic Greek theater. This brings me to mention the parallelism between the scenes of the play and how overtly theatrical the performances are by the actors in the movie, maybe intentionally(?), which I found something difficult to grasp given the seriousness and scope of imagined-vs.real paranoia and international conspiracies. Although the effort is uneven and unnecessarily time-consuming - unlike the other gigantic films by Rivette in terms of running time - and it doesn't always consummate its entire web of secondary subplots and malevolent intentions, Paris Is Ours is an interesting exercise in style and the mystery genre with good performances, experienced visuals and a film that transmits that Paris, indeed, doesn't belong to anyone. 75/100 P.S. Be on the lookout for cameos by Rivette himself, Chabrol, Demy, and finally Godard, the latter ridiculously attempting to be as cool-looking as the cameo of Melville in his debut Breathless (1960). Godard simply cannot feel confident without a pair of shades...
    Edgar C Super Reviewer
  • Aug 30, 2008
    Jacques Rivette's first feature was filmed over the course of three years which goes to explaining some of the inconsistencies. At the heart of the plot is some sort of mystery/conspiracy, but we the audience never find out what exactly it is the characters are talking about. Though we never find out what is going on, the dialogue and goings on between each character never fail to keep your interest. This added with the experimental jazz style score makes a strange almost surreal film. Look out for cameos by Rivette, Claude Chabrol, Jacques Demy and a fabulous appearance by Jean-Luc Godard.
    Emily B Super Reviewer

Paris Belongs to Us (Paris Nous Appartient) Quotes

There are no approved quotes yet for this movie.

News & Features