Six in Paris

A battle-fatigued hooker picks up a virginal dishwasher in Rue St. Denis. In Eric Rohmer's Place de L'Etoile a timid salesclerk thinks he has committed murder. Jean-Luc Goddard shows us a woman who is afraid she has mixed up letters to her two boyfriends. And a young boy finds a way to ignore his obnoxious parents in Claude Chabrol's La Muette.

Together, these six tales paint a tableau of a noisy, vibrant, colorful Paris a city where everything is possible.

Special Features:
- Interviews with Barbet Schroeder, Albert Maysles, Jackie Raynal, and Richard Brody
- Scene Selections
- Optional English subtitles

"Six short stories acted, produced, directed and colored in high style... A full entertainment." THE NEW YORK POST

"Amusing...Beautiful." THE OBSERVER

"Affectionately drawn... Funny and Real." THE NEW YORK TIMES

In 1965 six French New Wave directors took a Paris neighborhood and concocted a short sketch around it. The results sometimes favor character and story, and sometimes local flavor, but almost all are engaging in their own right. Jean Douchet and Jean-Luc Godard (repsectively) offer gloriously French slices of romantic comedy in the sexually open 1960s with "Saint Germain des Prés" and "Montparnasse et Levallois." Jean Rouch's "Gare du Nord" is slight of substance but beautifully explores the neighborhood in a gorgeous tracking shot. Jean-Daniel Pollet's "Rue Saint-Denis" offers two delicious characters in a witty comedy of a mousy dishwasher who brings a brassy streetwalker to his dumpy apartment. Eric Rohmer's "Place de l'Étoile," a sometimes silly but deftly managed little comedy of a man who strikes a panhandler and is terrified he killed him, displays a giddy goofiness unseen in his later work. Claude Chabrol's shiver-inducing slice of urban life "La Muette" ventures outside the oppressive hallways and tiny rooms only once, at the end, as if to celebrate the escape of the rebellious boy from his bickering parents. The strongest of a solid collection, Chabrol's chilly view of dead-end relationships in a splintered upper class family concludes the otherwise lighthearted collection on a devastating, dark note. Released in France under the more evocative title Paris Vu Par... (Paris Seen By), this is one of the strongest and most entertaining anthology films to emerge from the 1960s. --Sean Axmaker