NEWSPAPER – If the press almost unanimously hails the cast of the new comedy by Édouard Baer, this culinary camera between artists on the decline leaves many unsatisfied.
The new comedy directed by Édouard Baer was released this Wednesday, January 26. Farewell Paris brings together a cast that only the actor could bring together: Benoît Poelvoorde, Pierre Arditi, François Damiens, Bernard Le Coq, Jackie Berroyer, Bernard Murat, Daniel Prévost and Jean-François Stévenin. These eight sit down at the Closerie des Lilas and remake the world. A film about friendship and the passage of time, Le Figaro described as a “bittersweet comedy”and the portrait “of a dying generation”. Bertrand de Saint Vincent believes that“Édouard Baer signs with elegance the burial of a life of old bachelors, of an era, of a civilization: that of the white male, in love with words. (…) We get out of this Farewell Paris as disenchanted as enchanted”.
In the same register, The echoes evoke a film “to the flavor of a last drink before closing or a party that evaporates in the early morning”. Adrien Gombaud particularly appreciated the production of Édouard Baer, “a lively, flowing narrative that is both funny… and oddly sad.” Benoît Poelvoorde’s performance is also hailed. “Explosive, endearing, heartbreaking, [il] plays one of his great roles: his own.
For The voice of the North , Farewell Paris is “Like Édouard Baer. Funny, often. Annoying, sometimes.” Christophe Caron acknowledges that the“We end up being touched by the cruel melancholy expressed, reluctantly, by these rambunctious and damaged ghosts who no longer know if they are truly friends.” An indulgence that does not have First for this “gastronomic and ruminative camera”. The feature film “goes astray, scatters, despite some good ideas. (…) We smile, while saying to ourselves that Baer has not yet realized the great Cassavetian work, at the Husbands (unleashed, dead drunk, freed from all conventions), which he undoubtedly has in him.
The deep nostalgia of Edouard Baer’s sixth film only very moderately convinced Release . “Although visibly nostalgic, Édouard Baer does not consider these cruelty-free specimens, emphasizing both the ridiculousness of what they represent and their general mediocrity, while remaining one or two trains behind the times. He reserves his benevolence for a handful of more endearing characters bustling about behind the scenes and gradually short-circuiting the plot, a way for the film to show a Dada disinterest in the circle it has set up.writes Elisabeth Franck-Dumas. “In short, nothing, a lot of nothing, wanted and assumed as such, mounted in a whipped cream that aims to elevate this assembly to the rank of beautiful losers without quite succeeding. Farewell Pariswe don’t really know (so that was it, Paris?) but fair winds, yes.
The world perceives a “casual movie”. Jacques Mandelbaum wonders. “Farewell Paris would he go too far in the fuzzy deconstructivist tendency of Édouard Baer? We are entitled to ask the question as it seems difficult to report the subject and to grasp the spirit. Farewell Paris is a closed session that brings together eight old glories at La Closerie des Lilas, on the occasion of the deliberation of a worldly jury which awards a prize to a person who has done nothing all year. From which it follows almost nothing, if not the pleasure of seeing actors that we love thus united. The impression, in a word, that it is all the same the work that here, quite stupidly, was lacking.
funny and annoying
The cross speaks of a “pochade de pochtrons turns into the squeaky, bittersweet comedy of “old jerk” who cling to the banister, review the attacks of age, the worries of money, against a background of noisy ranting, while philosophizing in small weeks. Not enough to convince the Catholic daily. “It drags on, it’s uneven like any meal, with its hollows and its ups and downs, a little heavy like a banquet that’s too long, the sauce doesn’t really take. Even the good words, which we are so fond of at Édouard Baer, become pasty at times.