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Vienna (APA) – Two couples, two business, many discussions on alcohol and food. It is the recipe of the flamboyant French film, and Olivier Assayas relies on the proven ingredients of "Doubles Lives". In order to keep it up to date, it adds a pinch of digital transformation that can plunge cultural names into a crisis. In the end, everything stays well in the boho bubble.
The editors Alain (Guillaume Canet) and Laure (Christa Theret) have been appointed representing millennia, which will revolutionize the honorable publishing house of books for the digital world. The distinguished mid-forties is officially completely crazy, but for security reasons, he begins an affair with her, which gives him the opportunity to make many post-coit philosophies about the role of art criticism to the time of blogs and Twitter. Alain's wife, Selena (Juliette Binoche) is an actress and argues with a boring serial role, but "watch from time to time, that's what everyone wants today." For years she has had an extramarital relationship with the friendly and aging author Schloor Leonard (Vincent Macaigne).
In turn, he goes from romance to romance, using his various affairs only as a poorly encrypted substance. Abused, accuses him of a current shit current, of which he does not even notice anything. When Alain refuses to publish his latest work, Selene throws himself into the breach for Leonard – knowing that this time, it was she who had to serve "inspiration". And then there is Valerie, Léondard's girlfriend, who works with an anachronistic idealism for a politician and knows very well that she is deceived in every way.
In the end, business is history, Leonard works unconsciously as usual during the next literary use of personal details, otherwise everything is as usual. In the meantime, a lot of buzzwords were used for 107 minutes: ebooks, blogs, Twitter, Facebook, smartphones, fake news, etc. With its glbad of red wine well-stocked by hand, the Parisian intelligentsia is installed in its urban country kitchens, including wrought iron wood stoves, and laments the decline of civilization. Assayas wanted his script with humor, but the jokes are sometimes overused.
All of this could be understood as an attempt to unmask Bobo's badog bubble, clinging to his badured saturation while squeezing Perrier from Aludose. But for that, the second, the "opposite" perspective is missing. The Millenium Laure is unscrupulous and bibadual, she soon undertakes a more exciting job. And even if at least she is not discouraged by the art of the moment, her successor is one who "only cares about money". If Assayas had sent the little son of Alain and Selena only once with an iPad and showed the reaction of parents, we would attract hope and interest for these snobs, who still live in a world where men, their mistress, are precious, goodbye precious Give gifts. However, "Doubles Lives" remains a pleasure for friends of light French cuisine. For this target group, the film is undoubtedly a treat.
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