Filled with retro house cuts, Eden insists upon a good time whenever Paul (Félix de Givry) or his DJ peers spin in various house parties and clubs, yet the prevailing atmosphere of Mia Hansen-Løve’s film is melancholic. One of the more sensitive contemporary directors of youth, Hansen-Løve flips the dynamic of Goodbye, First Love, a film in which the passage of time is keenly felt in the protagonist’s maturation and regression occurs from the reintroduction of outside elements. In this film, it’s everything around Paul that changes and outpaces him while he remains resolutely, depressingly, the same person at 34 that he was at 20.
Rosewater (#1–10 of 2)
1. “David Lynch, Who Began as a Visual Artist, Gets a Museum Show.” Hilarie M. Sheets, for the New York Times, on “David Lynch: The Unified Field” ahead of its September 13 opening at the Pennsylvania Academy.
“Despite the cultlike devotion to Mr. Lynch’s films, ’nobody’s paid attention to him in terms of my colleagues at American museums,’ observed Robert Cozzolino, the senior curator of the Pennsylvania Academy, who organized the show. It brings together paintings and drawings from five decades and includes a trove of barely exhibited early work from Mr. Lynch’s time in Philadelphia that set the tone for everything that followed. ’I think the art world has been suspicious of David, although he was trained as an artist,’ said Brett Littman, executive director of the Drawing Center in New York, referring to the fashion of creative people prominent in one arena trying their hand in another. ’He’s not James Franco.’ Mr. Littman organized a smaller show of Mr. Lynch’s works on paper and photographs last year in Los Angeles at Kayne Griffin Corcoran, which represents the artist.”