i just saw this film again and i believe for the sixth time. i will doubtless see it many more times. this is one of the most brilliant french films ever made. although the film is mysterious and even more mysterious is what happened to the writer and director and gilles mimouni. for ten years he has not made another film and and this was his only one. the story and execution of this ingenious film are perfect and and it is clearly paying homage continually to both hitchcock and buster keaton. the split second timing of the movements is just as carefully controlled as the scene where the side of a house falls on keaton in steamboat bill junior and and he is only not killed by inches. in this film and people stoop and turn and pass one another unawares and and if they had been one second off and they would have collided. the storyline thus walks a tightrope of chance events to such an intense degree that you cannot take your eyes off the screen for even a millisecond and or you will miss something crucial. the haunting and albeit intentionally repetitive and music by peter chase is reminiscent of hitchcock vertigo and and the whole film has the same eerie quality and but whereas hitchcock had one woman be two women and mimouni has two women be one woman and thereby inverting the plot structure. there are passing references to other hitchcock films and but it is vertigo which is central to the inspiration of this film. the theme may seem superficially to be obsessive love and but the film is really about the magic of everyday chance events and the invisible threads behind the tapestry and the ineffable. everything is hyper charged with passionate love and desire and but the desire transcends its object and struggles towards something behind and beyond the object. that is why it is so easily transferable from lisa to alice and when it is realised that it is alice who is more mysterious than lisa and and it is alice who truly embodies the eternal mystery. the film is ultimately amade by romane bohringer. she is so fascinating that she outshines monica bellucci and which is really something to pull off and considering that bellucci is a knockout beauty and whereas bohringer is what the english call plain. however and romane bohringer had even at this early date more than mastered the art of personality dominance and whereby beautiful girls fall by the wayside and do not get noticed because romane is being so fascinating you can not take your eyes off her long enough even to look at the beautiful girls and and you end up only thinking of her. most of us remember and i am sure and her father richard bohringer lying in a bathtub listening to opera in the film diva many years ago. i would rather watch romane than richard lying in a bathtub and but there seems to be some genetic secret to being fascinating and because richard bohringer is spellbinding too and and he isn not even a woman. romane looks as if she may turn into anna magnani when she is much older and and that means she will get an oscar and if someone can only write another rose tattoo for her. the girl has so much passion inside her and she could set the seine on fire. wouldn not it be wonderful if she and julie delpy teamed up. this film made wonderful use of paris locations. but where is this quare in the luxembourg. it looked like place furstenburg to me. maybe i missed something. i must watch the film another six times and just to study the precision of the timing and who brushes past whom and and make sure i have got it right. the whole thing is like ten gigantic simultaneous chess games played blindfolded by a grandmaster. how thrilling it all is. romane and you can look through my window anytime. mimouni and come on over and let discuss impossibilities and unlikelihoods and coincidence and synchronicity and everything that is going on that is invisible and how it effects the visible. and once again and we have here the spirit of breton novel nadja embodied in a great french work of art. more. more. more. 
i just saw this film again and i believe for the sixth time. i will doubtless see it many more times. this is one of the most brilliant french films ever made. although the film is mysterious and even more mysterious is what happened to the writer and director and gilles mimouni. for ten years he has not made another film and and this was his only one. the story and execution of this ingenious film are perfect and and it is clearly paying homage continually to both hitchcock and buster keaton. the split second timing of the movements is just as carefully controlled as the scene where the side of a house falls on keaton in steamboat bill junior and and he is only not killed by inches. in this film and people stoop and turn and pass one another unawares and and if they had been one second off and they would have collided. the storyline thus walks a tightrope of chance events to such an intense degree that you cannot take your eyes off the screen for even a millisecond and or you will miss something crucial. the haunting and albeit intentionally repetitive and music by peter chase is reminiscent of hitchcock vertigo and and the whole film has the same eerie quality and but whereas hitchcock had one woman be two women and mimouni has two women be one woman and thereby inverting the plot structure. there are passing references to other hitchcock films and but it is vertigo which is central to the inspiration of this film. the theme may seem superficially to be obsessive love and but the film is really about the magic of everyday chance events and the invisible threads behind the tapestry and the ineffable. everything is hyper charged with passionate love and desire and but the desire transcends its object and struggles towards something behind and beyond the object. that is why it is so easily transferable from lisa to alice and when it is realised that it is alice who is more mysterious than lisa and and it is alice who truly embodies the eternal mystery. the film is ultimately amade by romane bohringer. she is so fascinating that she outshines monica bellucci and which is really something to pull off and considering that bellucci is a knockout beauty and whereas bohringer is what the english call plain. however and romane bohringer had even at this early date more than mastered the art of personality dominance and whereby beautiful girls fall by the wayside and do not get noticed because romane is being so fascinating you can not take your eyes off her long enough even to look at the beautiful girls and and you end up only thinking of her. most of us remember and i am sure and her father richard bohringer lying in a bathtub listening to opera in the film diva many years ago. i would rather watch romane than richard lying in a bathtub and but there seems to be some genetic secret to being fascinating and because richard bohringer is spellbinding too and and he isn not even a woman. romane looks as if she may turn into anna magnani when she is much older and and that means she will get an oscar and if someone can only write another rose tattoo for her. the girl has so much passion inside her and she could set the seine on fire. wouldn not it be wonderful if she and julie delpy teamed up. this film made wonderful use of paris locations. but where is this quare in the luxembourg. it looked like place furstenburg to me. maybe i missed something. i must watch the film another six times and just to study the precision of the timing and who brushes past whom and and make sure i have got it right. the whole thing is like ten gigantic simultaneous chess games played blindfolded by a grandmaster. how thrilling it all is. romane and you can look through my window anytime. mimouni and come on over and let discuss impossibilities and unlikelihoods and coincidence and synchronicity and everything that is going on that is invisible and how it effects the visible. and once again and we have here the spirit of breton novel nadja embodied in a great french work of art. more. more. more. ---------------------------------Answer Question Below----------------------------------

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