That was an excellent one.

Simply A Masterpiece

For all the hype it got I was expecting a lot more!

Clever, believable, and super fun to watch. It totally has replay value.

How lucky we are that Calvin Klein offers almost two hours of his pretty self-indulgent people gazing into the soul less eyes of a matching mate! Oh you mean this was not about French jeans? The brothers Polish are far from any substance or verisimilitude. Because you make a black and white movie and film it in Paris, doesn't make it art. It was an orgy of photography without any sex. I rather make fun of Karl Lagerfeld or wonder if anything ever came between Brook Shield's jeans than spend a relaxing night watching this vacuous dreck. The music goes up 20 times the needed volume like Rush Limbaugh's screams about nothing. The dialog is worse than a teen trying to write poetry about an escapade. Besides waiting to hear if anything poetic or insightful was said when the actors finally did speak, they're difficult to hear. My hand was getting carpal tunnel from constantly adjusting my remote from the extremes variances in the audio. I was wishing Genevieve Bujold would enter a scene and tell Stana Katic and Mark Polish to go home already or shout Action.

This movie was visually beautiful, the music was incredible, any movie that uses Jeff Buckley is a win for me. There was not much of a story to speak of, lovers reunite, travel, etc. It was more a series of very wonderful shots of the scenery and Stana Katic as much as it was a movie. You could basically watch the first 20 minutes, then the last 10 and you have the gist of the movie.Anyway the biggest reason I could never recommend this movie, the sound/audio is impossibly bad. I wanted to stop watching from the first scene on, it was that bad. The background noise was just too much and no settings change could fix it. I understand 'art' films, but could they not a afford a boom Mic for the scenes with dialog? I would have enjoyed the movie more with subtitles.

The movie is aesthetically beautiful... maybe too much. Each shot is designed to perfection. Nothing is left to chance and you will notice it sometimes... you will notice the presence of the director too. Beautiful the chosen black and white that reminds some of those Robert Doisneau's photos. All those things are intentional... As a matter of facts the movie is about photography, framing, it is about time stopping to build the perfect shot... doing this both in a picture and in life. Stopping the time in that unique instant, which is the art, which is sex, which is every moment in which we realize that we are living, but at that same time that particular moment soon gets us into sadness. Some scenes are really really beautiful... but there are too much of them that you could not digest it all! It's all so full, each frame is fragmented into a lot of other frames, faces the double mirrors, the transparency of glass and windows. In fact I struggle quoting one in particular... there are so many beautiful scenes and beautiful shots, all so dense but that density risks to remain diluted by and into the "too much". Beautiful close-ups of both the leading actors... breathtaking Stana Katic's ones that appears beautiful and is able to give her character a past and a future, with her expressions only. Very successful is the close attention for eyes, hands, mouths and tongues details... sometimes it my be a little intrusive. After 25 minutes the movie has a very interesting change in acceleration. The cutting becomes fast, the light high, and the music bursts. The shots change too, opening to shoot the two protagonists and not just parts/details of them. From this moment on it is a continuous succession of overlapping, wide shots and extreme close-ups, fast and slow cutting, sudden cuts and on-off alterning voices. At the beginning of the movie the protagonist tells his love to her: I do not photograph people anymore, but inanimate objects only, just because I do not see what I would like to see. In people I find only parts of you: your nose, your eyes, your hands ... but I can never see the whole of you, I can't find yourself. Beautiful is the motorcycle scene... I had already found it good watching the trailer, because of the metaphor between bike and sex. Feeling the bike's engine between the legs, his power under you. Feel when the gear engages and the bike spurts out under your body. To control that power, that emotion (similar to sex) something that explodes when you try to control it up to the end, but you know you cannot control it completely and totally. Nice the final scene, the only on color, shoot in a field of yellow flowers... looks like the scene from an old silent movie. In my opinion it's a very nice movie... maybe too much thought and reasoned... and I realize that in this nowadays reality, in which everything is done pulling it away, my opinion could appear as one of someone who is never satisfied, but that's it! The movie, I think is nice but lacks a bit in spontaneity... paradox, he lacks a bit of heart. But I do not want to be misunderstood: the movie is really very nice.

Mark and Michael Polish set out to make a timeless, intimate film about being in love and wound up making what appears to be on its way to an indie classic. The story is deceptively simple - a photographer and a journalist meet by chance again in Paris, eight years after splitting up. Shot in black and white with a small hand-held SLR camera, the film both recalls the verite style of the French New Wave, while simultaneously reminding us of the technological now of mobile phones and iPods. The result is something both retrospective and timeless; a tiny, heartfelt story in which yesterday is never quite understood and tomorrow may never come, but love lives on regardless. Michael Polish's cinematographic style has always been visually epic (Northfork), while Mark Polish's writing has always done gentle intimacy best (Twin Falls Idaho). Here, their strengths combine to create one of their best outings yet; the splendid landscapes of France backdrop for an intimacy possible only with a tiny camera and a crew of two. The brothers are aided by the luminous and perfectly retro-looking Stana Katic -- a modern cross between Audrey Hepburn and Sophia Lauren -- in an honest, beautifully understated performance which complements Mark Polish's habitually low-key style exceptionally well. Joyous and tender and heartbreaking, this is the kind of film that sticks with you long after it's done. Really a must-see, whatever you have to do to find it.