From the delights of nostalgia to the regrets of almost nothing, Adieu Paris under the gaze of critics

Adieu Paris

Le Figaro

“bittersweet comedy”

of “a disappearing generation”

“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

, as disenchanted as it is enchanted.

Adieu Paris

Les Échos

“in the flavor of a last drink before closing or of a party that evaporates in the early morning”.

"a lively, fluid story that is both funny... and strangely sad".

"Explosive, endearing, heartbreaking, [he] plays one of his great roles: his own."

La Voix du Nord

Adieu Paris

“in the image of Édouard Baer. Funny, often. Annoying, sometimes."

"we end up being touched by the cruel melancholy expressed, reluctantly, by these damaged and playful ghosts who no longer know if they are truly friends."

Première

“gastronomic and ruminative closed door”.

“gets lost, gets scattered, despite some great ideas. (...) We smile, while saying to ourselves that Baer has not yet produced the great Cassavetian work, à la

(unleashed, dead drunk, freed from all conventions), which he undoubtedly has in him.

Theatre is the exact opposite of digital

Liberation

Although visibly nostalgic, Édouard Baer does not consider these specimens to be cruelty-free, 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 who bustle behind the scenes and gradually short-circuit the plot, a way for the film to show a Dada disinterest in the circle it has set up

"In short, nothing, a lot of nothing, wanted and assumed as such, mounted in a whipped cream that aims toraise this assembly to the rank of beautiful losers without quite succeeding.

, we don't really know (so that was it, Paris?) but fair winds, yes.

“casual film”

“

would it 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.

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.

"pochade of pochtrons turns into a squeaky, bittersweet comedy, of

who cling to the banister, review the attacks of age, the worries of money, on background of noisy rantings, while philosophizing in the small week.

“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.