Movie review: Spring in Paris – A wonderful thriller about the aggravating intoxication of first love

Spring in Paris… It’s a very ordinary title, like a petty, tired Woody Allen. We can blame the title on Swedish distributors, the movie was called in the original Seize printemps (Sixteen Springs), but the premise also resembles old cabinet food: a young woman on the border between childhood and adulthood meets an older man who has to live for the first time without lust.

But the perspective is new. French star Suzanne Lyndon was only 19 when she began producing this love poem about 16-year-old Suzanne who falls in love with 20-year-old Raphael as a theater actress as she passes her way to school every day. Lyndon, who wrote the script, directs and plays the main role, approaches the topic with an apparent naivety that makes spring in Paris explode with the intoxicating bubbles of first love.

In the emotions of the French film The director (usually male) usually allows the camera to be moved back and forth over naked bodies, preferably over the bodies of the young woman. Sexual desire is described as … sexual desire. Bang on beetroot with voyeuristic skin. I wouldn’t act as a Prussiluskan and claim that it’s automatically blameworthy, certainly not, but alternate Suzanne Lindon is still a nice break from all the stinging on the big and small screen.

I’ve collected an outdated love poem, without being strict. Here desire and love are instead expressed by a kind of synchronized, rhythmic movements in a kind of dance or soft motion scheme; Not quite different from a Bollywood movie where dance numbers and songs might replace the landscapes, but…no, it’s still really the case, it’s a visualization of the union of souls.

Oops, it looks like now high-pitched; Not. Quite the contrary. Casual and easy going. Ethereal and humble at the same time.

Although I don’t believe there is much difference between female and male minds – the discrepancy exists on the individual level and not on the chromosome as above – it would be tempting to say something about Spring in Paris that is the answer to the question of how the female viewpoint might differ from love about male

On the other hand is Susan’s character is by no means representative of the average teenage girl. She does not feel at home among her peers, reads poems, eagerly listens to classical music, perhaps not even once with a mobile phone in her hand. An old fairy tale character, in a movie that lacks an external conflict, except for the age difference at the time. But inside Suzanne, it storms, as Susan Lyndon suggests through brilliant direct use of all her clever facial muscles.

Spring in Paris is a beautiful and airy short story in just 73 minutes. It’s not a great job (4th grade shaky) but it’s still work that lives in the mind for a long time, thanks to a dreamy, quirky and subtle tone.
It is also a work that indicates that we have just witnessed the beginning of a great cinematic career.