Just perfect...

A very feeble attempt at affirmatie action

A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

This is a surprisingly clever, sardonic and oddly charming science fiction film that manages to be engaging without the usual big budget special effects. The filmmaker instead achieves more witty, quasi-surrealistic results by moving the narrative forward with quirky unanticipated plot twists reminiscent of films such as "Being John Malkovich" (1999). Less is more -- entertaining, that is. Leave it to the French to create a disturbingly plausible future that envisions the outcome of a wasteful disregard of the planet, while simultaneously maintaining a touch of romantic energy and charm. Actor Jean Paul Belmondo looks great for his age and contributes some sage presence to the story. This is a nifty and imaginative French film that should have received a theatrical release in the U.S. for American art house cinema audiences but, alas, somehow never did. It's a surprisingly entertaining little gem of a movie.

The main character Arthur seems to have a walk through the all movie and doesn't seems to have expressed much real feeling except maybe in the very very end in front of Lucy naked. Still it was pretty funny how every member of the future family tries to convince Arthur to be a dad. The theme of Paris under sand is very original and well made: I loved the camels and the market place. The music is quite good. Well, still it's probably the kind of movie to watch without expecting to have depth: why does Ako start to destroy the flat at the party? Why does a young woman say Ako look like HER dad? why do we see the same young woman going home as we should expect some clue of it?

*** Possible spoilers below ***I don't know, if Cedric Klapisch have seen "Window to Paris" (1994), but the comparison strongly suggest itself: both main characters, Arthur and Sergei, travel through space-time by the means of corridors, garrets and windows. Artur makes a trip from contemporary Paris to ruinous Paris of future, where he meets his aged son, daughter and their families.Possibly maybe this film could be a little bit better, if the director won't lose his temper right from the beginning. The movie started very energetically, with some great unusual scenes emerging from very usual situations, -- but, after the Arthur finds the window to future sand-covered Paris and talks to his descendants -- the storyline goes completely illogical and unreal, and I (sorry) can't believe in what is taking place no more."Peut-etre" is very nice, sentimental and funny, but it would vanish from your memory right after you'll leave the cinema hall.

There's not that much to say in the end. One would have expect much more from a director who made way better movies in the past. It just seems like he did it without actually caring. The actors are doing their job (though Belmondo is far from amazing), but you just don't get hooked. In a word, it's boring. This is even more disappointing since I heard several time that this movie could be considered as a reaction to all the big American blockbusters, which are considered to be a threaten to the French exception by those who just can't admit they should turn to another job. I tell you, if that's the best reaction we're supposed to get, boy, I'm going to be really depressed soon...