after the attack, investigation into the memory of a victim
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THE OPINION OF THE “WORLD” – NOT TO BE MISSED
The title of Alice Winocour’s fourth feature film is in itself a program, deeply human and cinematic. First of all because there is nothing to suggest, through these two words, that the film is about a terrorist attack, of the type of the 2015 attack in the capital – the filmmaker’s brother was at the Bataclan, the evening of November 13, and her experience inspired the director. Well beyond, See Paris again tells us that after the murderous attack, the census of the victims, the care of the survivors, another chapter opens, of a psychological order, where reconstruction passes through reconnection with others.
Selected at Cannes in May, at the Directors’ Fortnight, this sensitive drama takes another look at terrible current events, as the trial for the attack of July 14, 2016 in Nice opened on Monday September 5 – there Two months ago, the river trial of the attacks of November 13, 2015 ended.
Mia (Virginie Efira) is a Russian translator. She criss-crosses Paris on a motorcycle and speaks at conferences, at Radio France, etc. She seems to be having a great story with Vincent (Grégoire Colin), head of a hospital department. One evening, while they are both having dinner at the restaurant, he receives a call and explains that he has to go back to work. Mia gets back on her Triumph, then, surprised by pouring rain, lands in a brasserie. Beside her, a man (Benoît Magimel) celebrates his birthday with colleagues. The cake arrives, but it’s not very “candle” and lingers for a moment on Mia. Then comes the sound of machine guns… Then, the black hole.
During the attack, which lasts barely a few minutes, the camera is discreet, almost reduced to a dim lamp, barely illuminating the bodies, trembling, hidden or already dead. Past this traumatic moment, comes the next day, and See Paris again rocks into a mental, geographical and sociological journey in the heart of the capital. It is the most beautiful idea of the film to rely on the “postcard” (chimneys and zinc roofs…) to better deconstruct it through the eyes of the heroine.
Hitchcockian atmosphere
In jeans and a leather jacket, Virginie Efira carries the film with her eyes, often in the fog, which come to illuminate sudden reminiscences. A Hitchcockian atmosphere, although softened by encounters, Benoît Magimel bringing humor and a certain relaxation to the story. Fiction draws on reality to weave the story, filled with characters (a waitress, a young girl who has lost her parents, etc.).
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