The Small World of French Cinema

Two Saturdays ago after I got off work, I stayed to watch Shall We Kiss?, which stars Virginie Ledoyen, a distinguished young actress in French cinema.

Then, a few days later, Late August, Early September came in the mail from Netflix. It also stars Virginie Ledoyen – though that had nothing to do with that film’s inclusion in my queue, nor with the timing of its arrival. Many moons ago, when Scott and I would spend inordinate amounts of time at the Slippery Noodle Inn - due largely to the fact that he was dating someone who worked there – it was recommended to me that I should see Late August, Early September, but I never got around to it because back then there were just video stores, and finding obscure French movies at Blockbuster is a task so difficult that it should be named after a figure from mythology.

I moved Late August, Early September up in the queue so that I could knock it out while Amy was gone. She used to teach French, and so likes French movies well enough – but it seemed like this one was a little too indie for her. I have also knocked out Lust, Caution in her absence, and I think I’ll probably get two more pictures watched before she gets back – which will be Unfaithful and Boogie Nights (which will complete the magic P.T. Anderson trifecta).

So what does all of that have to do with anything in particular at all? Not much – it’s just a vaguely amusing French film coincidence. But when you add to it that we’re opening Summer Hours on Friday, it becomes a triple coincidence – because Summer Hours is directed by Olivier Assayas, who also directed Late August, Early September. Still doesn’t have much to do with anything – it’s just funny how things work out sometimes.