The_late_Buddy_Ryan Seems like the streaming format can't do justice to this cult film's visual pyrotechnics (literally, in the case of the famous Bastille Day fireworks/waterskiing sequence(!)), but what really tipped the balance for us was the operatic silliness of the plot. At first it seems like Carax is trying for the kind of bittersweet fantasy about the Parisian underclass that Jean Renoir and René Clair were turning out in the 30s—updated with a "gritty" layer of realism that can be difficult to watch. We didn't much care for the way the script exploits pathology—blindness, depression, dissociation, addiction, pathological jealousy and all-around destructive craziness—as a substitute for character and emotion, which comes across as cynical and pretentious. The over-the-top plot contrivances may make for some effective individual scenes—Michèle fantasizes about hunting down an ex-lover and shooting him, Alex destroys all the "have you seen this girl?" posters that Michèle's parents have put up, Michèle and Alex pose like figureheads on the prow of a barge on the Seine (remind you of anything?)—but none of it seems to add up to much in the end. There's another scene where middle-aged tourists are roofied and robbed by the lovers at an outdoor café; we see them waking up, feeling dazed and abused no doubt. We identified.

luluzj a little different from the love we all will see in daily life. Like all those romantic TV shows from Korean, love is always in some fabulous house, with hero and heroine dressed beautiful. But this is not.kind of cannot accept those loud laughters of them. It's so weird. Love is selfish, it's not as great a we think is. You'll want to bring your lover to the same stage you're on. Sometimes it's better, but as in the movie, it's worse.French humor, I'll call that like this. They present the most beautiful love in most ugly scene. Dirty faces, dirty clothes, ugly sex with someone irrelevant. Enjoy love, no matter where you are, or who you are.

Sindre Kaspersen The third feature film by French screenwriter, film critic and director Leos Carax which underwent a complicated production process and took three years to complete, is an archetypal love-story set at a bridge undergoing reparation at Pont-Neuf in Paris, where painter Michèle who has recently left her boyfriend and fire-swallower Alex who is addicted to tranquilizing pills and alcohol coincidentally meet and form a relationship.This unusual romance about two opposite vagabonds crashing into one and other during the days leading up to the Bicentennial celebrations in France 1989, is noticeable for it's varied use of music, fine cinematography, fast editing, good pace and diverse filming. However, much of this films greatness comes from the terrific performances by Denis Lavant and Juliette Binoche, whose magnetic presence turns this unorthodox love-story into a gripping character drama. The scenes they share stand out as the highlights of this film and they were passionately filmed and written by Leos Carax, who had to overcome severe financial difficulties in order to get the film made.

dusan711 Les Amants du Pont-Neuf (aka The Lovers on the Bridge) is such a unique film, really I can't find anything to compare it to in terms of story or style. Juliette Binoche is one of the great screen actors of all time, and here she is very captivating and with very little dialogue. Denis Lavant is equally good in a very challenging role. Leos Carax gets a double thumbs up for sticking with this project and his unique vision over the extremely long production schedule.With more moments of silence than sound, it is amazing that the film manages to engage so thoroughly. I've seen it twice and both times I was surprised at how hard it was for me to look away. The cinematography has something to do with that of course.Some moments are so calm and tender...and others are very jolting and violent. I can't quite put my finger on it, but there really is something extraordinary in The Lovers on the Bridge.