The cinema party: Mia Hansen-Love’s Eden

With Eden, Mia Hansen-Love took a small step in her filmography. He films a kind of big party with no future where everything is mixed, especially the sentimental and artistic life of his main character. And the director asks a related question: how to film club nights at the cinema? There is nothing better for our cinema party cycle.

Nice nights

Music, he said, can soften morale. Here, above all he is the main character in a film that wants to be generational. Mia Hansen -Love filmed the effervescence – aided by drugs – of a generation that took music not from the closet but from the garage, so that it resounds with great raves whose tomorrows are not singing but difficult. However, when the party is full, it’s the impression that everyone is likely to dominate thanks to the group’s performance with good fluidity where some familiar faces show up. His film is the story of a journey – as always – but this time masculine. Above all the awakening of the world, a violent awakening and a freedom. The film constantly breaks its rhythm between parties and creation, between the desire to keep going and the frustration of seeing the world go on without itself. The filmed party is only more beautiful if it follows a large vacuum or calmer times, we are almost caught in a whirlwind like. Mom by Xavier Dolan, perhaps less emotionally damaging. Eden able to transcribe the atmosphere of rave evenings, the music that invades space and all the suspended moments that are also important: when the party is over and you have to keep going, to make, to release yourself , to others and to build a future. The characters filmed by Mia Hansen-Love, like the first series of the film, live permanently at night, in an aesthetic, in their more or less screwed up love stories. Mia Hansen-Love films, beyond a generation, a Parisian microcosm with American dreams. His Parisian microcosm since he narrated there the meteoric rise (and fall) of his brother (who co -wrote the screenplay) Sven here has been replaced by Paul. So it’s a party story like a family story filmed by the director.

From the personal to the collective and vice versa

The director escapes from what he knows is how best to do so far: romantic and time-sensitive films that are all fast. He seems to be more following the heat of the world even if, here again, its main character loses strength… As the world progresses, he wants to find his past, the one before the loss of innocence. “Somewhere between euphoria and sadness”, this is exactly the great success of the film: the success of talking about our common desire-to move forward without betraying ourselves, to give of ourselves and the future while looking back-by talking about a to individuals. All we meet during these two hours we want to dance and shout is just as annoying as they can be fun and give us a life of love, an ideal: that of a machine associated with more traditional music. . (human voice) very little. of little self -sufficiency to be caught up in his fate: electro. The characters are always hungry and going through the 90s like a dream before waking up at the dawn of the 2000s with their heads full of head machines and a certainty: growing up without perfecting. invite. If this large fresco sometimes escapes Mia Hansen-Love, she delivers an enthusiastic film that goes to the discovery of a time, to a musical and offers her own reading on a journey, on many travels. intersecting between creativity, friendship and romantic crossover where we see some familiar faces in disguise of international artists. The director allows himself to be intoxicated by a force: the collective and therefore euphoria without forgetting what motivates him: sadness. In the end, maybe that’s filming the cinema party, getting a collective, an unexpected excitement that grips everyone and knowing that one day the party is over and that you have to manage the aftermath. . This is the important question Alex Beaupain asks in his song Nice nights : “But when it’s over it’s too much to drink / If it makes everyone so full / What’s left of our big nights / When morning comes? » The director responds with constant precision and a gentle balancing act behind the ubiquitous music.

See also

Eden: Trailer

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