Eden : A Film Review

Director Mia Hansen Love
cast: Greta Gerwig, Golschiftch Farahani, Felix de Gevry,
Genre: Drama, Music
Language: French with English subtitles
Country of Origin: France 2014 131 mins.

Eden, from French director Mia Hansen Love looks like a movie, vims like a movie and is a visceral blazing dance music festival of a movie.
Joy and Ecstasy
In around twenty years of Electronica many have wondered how the off mainstream, dance genre, which is a part of global pop music will be retained on film as well as paying homage to the core essence of its obvious record for generations who propelled themselves forward into a new century on the vast issue of tracks and digital recordings at hand.

It was not apparent and there have been lame attempts at what is a block of energetic sound delivered for immediacy, digestion, entrancement and thrill. Enjoyment was the sub-cultural text unashamedly and intuitively correct in the sub-real hotly contested near paradoxical pop music it showed contempt for. Recording companies wished to corner the four to fourteen market and went for it tooth and claw.
The ‘are you into that?’ is never more a reality than with dance.
House was a growing up part for me and you would be able to leave a jazz emporium in London pass a club and hear dance music and be drawn into it straight away. Straight through the doors into a roomful of trance ambient, or a steaming rocking House in ripping loud thunderous classic dance pouring out on conscious peaceable smiling faces in tune with it to the second. It was a fusion of tastes interwoven as never contemplated as technology equipped certain DJs and meritorious musicians to experiment with the veil lifted by the erudite electronic keyboard maestros except no lingering classicism except for Thomas Dolby, other ingenues who would find dance superficial or baseless repetitive soup for advancing sexual relations asap. Attractions and opposites, cliches are thinly persuasive.
Permacultural Organisms
What we had stumbled across as the lightening rods of this French duo known as Daft Punk colonised as French House. Their clubs named in this party as ‘DJ Cheers’. It scalloping out and presenting the dynamic of American nineties deep house embedded and coded with soul enriched words and recall. Words and recall. What if sister? What if brother?
They are actually referenced come to think of it.
Those words not used but grabbing the what if we were a brotherhood.

It was certainly a time which sought the removal of prejudice, which expressed togetherness, which emitomised, just as the Band Aid thirthieth anniversary fades away an awakening to impoverishment, of exclusion, division, war – the ’19’ of the (the Simon Fuller, 19 Management, Paul Hardcastle encourager found embedded in Amy) struck a colossal vein in popular consciousness which morphed in many directions. Even informing ‘American’ themed disco anthems and their cross appeal.

Tree lined Parisienne Streets.
The wide expanses of the Hausmann Boulevards and small commercial trading streets, of counter revolution and now Le Haines contested areas within the periphique had a bourgeoise set who sought out along with other sturdy and not so sturdy youth a culture not derived from Mitterand and his merry band of Eurocrats.
Daft Punk
Social thought indeed was in the ‘Air’ (another French electro device) as self confidence after a one man World Cup! – can I lay that down for discussion at least! – a brimful of Zinedine Zidane from Marseille! head butt upfront! brought out a French exuberance once again on the move. Giacometti meet Serge poster culture with a bit of Rough Trade signature self-identity.
Mia’s beautiful vision
The beautifully thought through delivery of a fictional account of the years French House, a repoclaimed Garage Electronic Vocal House albeit nuanced with the indigenous fluid smooth sounds they heard off the local radio from the populations incoming but barely regarded as influential and probably still not.

The permeation was to be embed without knowing. Frankie Knuckles etc. did lay down plenty of the rhythm and soul inflections understood by the French youth while the UK was direct and in your face. So much so it was back at you from the US who recognised the works worth.

The film is like a groundswell of Music. The first tunes hit off in the daylight opening sequence of a gathering through the more parklife tree lined, (London Planes?) into the – and it was the ozone era – where the air got skinned of its protection, our harmful emissions reached towards a revengeful sky, where the lines of Charlie were across credit lines of harmful business and profit was a book to own.

The tunes are the narrative form. They carry the scenes and Mia drops each as an acid drop with splendid servile subconscious alacrity.

The acid is not so deep as to be found wanting or lost. The scene is derived by the fictional account of her brother, Sven Hansen Love who was a DJ of note and merit. The Eden of the title referring to a Radio/Club publication which aroused the senses by written word, contextural art and drafting a of the nearby Daft Punk luminaries.

Who’s in Da House
Time to introduce Daft Punk properly. Da Funk they drop in a home House party. Meet them, Thomas Bangalter and Guy Manuel de IIomen Christo.
Headbangers of corporate idolatry worth. Unlike the fictional character Paul who is so carefully built by the 23 year old actor Felix De Givry who has to cover the whole twenty or so years of Mia and Svens choice of storyboard.

Each delivers. The point is that the music in essence delivers. It is not full of or has any undercurrents of angst, Prodigy, Underworld come to mind but is up front fusions of joyous sounds making for the first time globally probably French music a serious common bonded sound. How else would it go down so well it hard on United States of America in the home of House, Disco and Dance. It grooved and caresses. It was loud while it did it with no hang up chords or lack of creativeness.

Paul delivers. Sven has his own account of club success and this story has the pairing of Paul with Stan, played by ..who is his encouragement along with Clive another partner in the Club nights which shine. Where is that name derived? They call theirs Cheers. Sort of Aquaplane (Danish) good it’s that bad as a name!
They set up club night high in production values. Not Stockwell! Boston! Hoxton! Sweaty! Non-stop partying. chill and outdoor jeanesse dori blend into the noise and only occasionally does a guest get off their head on screen. The acting of the Mia gathered youth are remarkably well behaved and they dance themselves alarmingly like naturally beguiled lovers of the genre.

These are of the current era made up to be of the former era showing the music is so familiar and loved as to wish a revival of sorts to happen. It looked so innocent but plainly wasn’t. Lots of harm through its drug use and dependency put many into an early grave.

The DJ of Paul’s time worked hard and the labour of love meant he could not pay attention to the love in his own circumference. The adorable, adored, partnerships are true shapeshifting. The loss of his first true love Julie, an American already divorced and who gets his talent is what drives him and returns to America to follow her own goals. The next is the childlike presence of a woman earthling Parisienne girl who also shares his music pedigree but eschews all that it sits alongside. She gives him space and he develops because of her catch a mood wisdom.
A Story in two Parts?
Binary is a recent theme, Love and Mercy, Amy and Mitch, Back to Black, Sid and Nancy, Daft (binary) Punk, Paul and Stan, so this is again perhaps a kind of reflection forward.
The relationships are not so carefully balanced though the synergy is.
They are suited. So it is throughout the film. That he finds love in his life but has another love which he – and because of its acceptance and maybe even being able to make numerous people happy – at the expense of the other and for a part his own mother, his own self worth is undercut.

The success of tracks and his club takes him across to America where again a daylight festival, filmically beautifully choreographed human in scenic harmonious dance sequences at MOMA PS1 courtyard plays out as a
natural segment with Mia’s touch excelling here in both the music and interwoven storytelling pace of her holding onto the challenges at ever encounter.

New York, New Times.
The Paul we know, love and trust is in a difficult place and his own refusal to confront what troubles him and face the loving faces staring back at him is heart felt. Young French actors I have noticed don’t do anger convincingly as they try to hard to be ‘honest’ while simply having taken too much of this that or the other and senses have gone to s*** while the taxi(s) or friend rescue them without much in the way of repercussions.

Not exactly a homage to the delirium delinquency, sangfroid, raw mouthed French unspeakables I have encountered in a blessed return to the world.

The true tried tee shirt thievery is ubiquitously labored or is that just French dressing? Sangfroid gestures are no usual but bad manners and lack of recall are fail safe mechanisms deployed by the French and possibly to a greater extent than others.

The story as this repressed editorial account is struggling to explain for you – the story is good well received baleful and a bit clean – the music is monumentally blissimo innocentia reality fast rhythmic creative vibe full – is paced extremely well and directed knowingly skillfully and very expressively human as to reach where other music films leave you cold.
It is split into the parts of Paul’s life where he is mature and childlike at the height of his musical powers – I detected a downward element to the work later as it went on his own productions – to the aftermatch of money being soaked up by extinctions of guestlists – some nights were the leggy models and dancers drank fluid gold and snorted free gear as complimentary incidentals. To the inevitable turn in fashionable gatefillers, to real life booking of ‘names’ for fortunes and small return took it down to an unrecoverable set of circumstances business wise.

Stop to move on
The dryness at the end was an awakening and there was no trailing over the debris as we had seen the slow demise through these zestful eyes.
The photography slowed to a turning tide and some recall was occasionally invite with the Daft Punk pairing appearing every so often as rudders on another ship.
Conclusion #####5
It is worthy of a five in this (locally) mixed bag Summer.
It reminds us when massacres didn’t appear on beaches along with refugees struggling across continental Europe were never envisaged nor were we mistaken that globally mankind was an outfit which can and ultimately will be the suitor to heaven or a vanished planet. This is the story of a youthful experience.
It is a tender well handled tale thoroughly intelligently written and directed with the deft and utterly convincing playing by the principals who along with the extras equally bring to life that hope which this generation. Now hopefully and do have to hold dear as they venture forward.

Once John Lennon explained it for use.

‘Life is what happens when your making plans.’
John Lennon

Through the train window on route to Washington.

John Graham

23 July 2015


Opens this Friday night at QFT Belfast and on general release from then.
House full so Eden TV
Provides a soundtrack for you

‘Eden boasts a truly outstanding soundtrack’
JAYDEE Plastic Dreams (original version)
SUENO LATINO Sueno Latino (illusion first mix)
ALY US Follow Me (club mix)
THE ORB A Huge Evergrowing Pulsating Brain That Rules From The Centre Of The Ultraworld (Orbital dance mix)
FRANKIE KNUCKLES The Whistle Song (original version)
AARON SMITH FEAT. D’BORA Going Round (UBQ original mix)
JULIET ROBERTS Caught In The Middle (gospel revival remix)
JOE SMOOTH Promised Land (club mix)
LIQUID Sweet Harmony
JASPER STREET COMPANY Solid Ground (Spensane vocal)
ROSIE GAINES Closer Than Close (mentor original)
MK The MKapella
BRYON STINGILY Get Up Everybody (parade mix)
DAFT PUNK One More Time
CHARLES DOCKINS Happy Song (4007 original mix)
JT VANELLI The Cricket Song
WATANABE Odoru (unreleased version)
CHEEK Venus [Sunshine People Cheek] (DJ Gregory full length mix)
KINGS OF TOMORROW Finally (original mix)
OCTAVE ONE FEAT. ANN SAUNDERSON Blackwater (string vocal mix)
JON CUTLER It’s Yours (original distant music mix)
VIOLA Little Girl
MASTERS AT WORK FEAT. INDIA To Be In Love (12 inches)
ANGIE STONE Brotha (DJ Spen & Karizma remix)
LOVE COMMITTEE Just As Long As I Got You
CRYSTAL WATERS Gypsy Woman [La Da Dee] (basement boy strip to the bone mix)
PAUL JOHNSON Tak A Lickin [and Keep on Ticking]
DAFT PUNK Veridis Quo
POLO & PAN Rivolta (get a room! remix)
KERRI CHANDLER We Are [I’m Here For You]



PAUL Félix de Givry
LOUISE Pauline Etienne
ARNAUD Vincent Macaigne
CYRIL Roman Kolinka
STAN Hugo Conzelmann
ANAI’S Zita Hanrot
THOMAS (DAFT PUNK) Vincent Lacoste
GUY-MAN (DAFT PUNK) Arnaud Azoulay
QUENTIN Ugo Bienvenu
HERVE Sébastien Chassagne
NICO Laurent Cazanave
ANNE-CLAI RE Signé Bouaziz
THEODORA Léa Rougeron
ESTELLE Olivia Ross
BASTIEN RADIO FG Pierre-François
MIDORI Garel Claire Tran
RENEE Arsinée Khanjian
JULIA Greta Gerwig
Brady Corbet
MARGOT Laura Smet
YASMIN Golshifteh Farahani


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