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Too much of everything

Captivating movie !

While it doesn't offer any answers, it both thrills and makes you think.

I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

Others have gotten into the film with further depth, but to add my two cents won't take long. It's more of a general review.This is a film that had promise (perhaps like the lives of the students), but then really didn't go anywhere (like many lives)...perhaps that was the point, but it didn't make for a compelling film throughout. I'm giving it a 7:+ 8 for intention/promise6 for overall executionWhat I liked: characters who were finding themselves/evolving, challenging the status quo, and were willing to fight for what they believed in drew me in. The art direction gave the film a consistent and believable look and feel.What I didn't like: lack of a strong narrative or focus throughout the film made it hard to stay engaged; some of the music was just odd at times; the characters' motivations were hazy and malleable; and it was a bit long for what the film ended up being (it could have been better if shorter and more neatly wrapped up or much longer and followed the characters years down the road; the length didn't help the film).If you like French films, you'll probably enjoy this to some degree as I did. If you like the constant, mindless action, tight editing, fast dialog and vapidness of most Hollywood films, don't bother.

Great movie that does put you in the shoes of those 60 and 70's idealists and lets us contemplate the beauty of their existence, and I mean the kind of movie like Melancholia, which makes you feel things from such a different perspective. The movie does not deal directly with contemporary contradictions of idealism, but it is undeniable that this issue awakens in us when witnessing the characters strife for integrity. It somewhat scented like Spike Lee way of proposing a theme for me. It weaves some plots which are left in low key, just to draw our attention to what really matters for the narrator. We are dealing naive yet sophisticated people - which is the beautiful paradox of their being. I must say that I didn't like a pair of choices like that insertion of Laura when Gille is reading her letter in the subway. For me it breaks the harmony, it is kind of out of the blue solution - though it has its coherence, and, again reminds me of Spike Lee's Jungle Fever.

This is all the summary you need. Seriously, all stereotypical things you'd expect to see in a French movie, was there.Cliché relations? - Check Smoking all the time? - Check Painting? - Check (so much painting) Eating at cafés? - Check Just a long montage of the "happiness-model"? - Check Croissants? You name it, it's there!I have to say though that the beginning of the film was really interesting. I thought that it'd be a movie about people who fought for what they believed in and the character development along the way. Boy, was I wrong! It quickly lost its pace and never mentioned what happened in the beginning ever again. Nothing they ever did had any actual consequences later in the movie which made most actions seem pointless.Don't forget the actors who couldn't show any passion for their characters interests what so ever. It wasn't so convincing when the girl said: "I still love you" when her face looked as numb as if she had been slapped in the face all day. After the movie, I would nominate Kristen Stewart for an Oscar.I almost forgot to mention the main character. His face expression can be best summarized as this: Depressed, slightly smiling or neutral. But for some reason he was quite popular and painted a lot. I still don't know if he liked to paint or not (because of his unengaged acting).That is my review and why I so generously gave it 3/10 stars.

In 1968 in Paris, France, the something in the air was revolution. In March of that year, a single spark began a revolt when a small group of students at Nanterre University took to the streets to protest conditions at the University. By July, workers had shut down Paris with a general strike in which ten million workers took part, occupying factories and marching in solidarity with students, who occupied the Sorbonne. The objectives were self-management by workers, a decentralization of economic and political power and participatory democracy in the factories and universities. By the end of July, the government of the autocratic Charles de Gaulle was teetering on the brink of collapse.The impact of the 1968 near revolution is still being felt three years later in February, 1971 when Olivier Assayas' semi-autobiographical Something in the Air opens. A demonstration is held at the Place de Clichy in Paris as a teacher in a high school class reads a passage from Pascal, "Between us and Heaven or Hell there is only life, which is the frailest thing in the world." At the same time, the brutal police repression of a young protester, Richard Deshayes, takes place in nearby streets demonstrating the immediacy of Pascal's words. Deshaves loses an eye after being hit in the face by a smoke grenade, and the poster of his bloody head is shown as a symbol of resistance throughout the film.Something in the Air is about coming-of-age and the awakening of conscience, and Assayas has the courage to remind us of the need to align our actions in life with our beliefs and conscience. Events are shown from the perspective of Gilles (Clément Métayer), a 17-year-old high school student who is a prospective filmmaker, painter of considerable talent as well as a political activist. Gilles and his friends Alain (Felix Armand) and Jean-Pierre (Hugo Conzelmann) are activists in the political arena, working to create a better society. They distribute leaflets, contribute articles to left-wing magazines, and spray paint graffiti slogans on the walls. After a security guard is seriously injured by a Molotov cocktail thrown by one of the protesters, however, Gilles and his new girlfriend Christine (Lola Creton) leave the country for Italy.On the trip with a group of activist filmmakers, Gilles is told that he can only borrow a camera only if he does agitprop because "we don't do fiction." At a showing of a revolutionary film, a discussion follows about whether to use conventional style or "revolutionary syntax" to get their message across. Although the film is about ideas, we never know exactly which of the student activists are Anarchists, Trotskyites, Maoists, Marxists, Stalinists, or democratic Socialists, but it hardly seems to matter. What makes the film so unique is not only a script that is highly literate but its portrayal of young people with respect for their minds and an appreciation of their dignity and commitment, attributes normally not seen in films about the counterculture. Author Anne Morris said, "The irony of commitment is that it's deeply liberating – in work, in play, in love." Assayas correctly notes that, in addition to advocating political and economic change, the protesters also want to change outmoded social conventions, particularly the stranglehold of the scientific/materialist paradigm and the puritan sexual mores that place barriers on spiritual growth and full self-expression. What comes across as special, even more than ideas about filmmaking or political theory, are the relationships they have with each other that express their openness and love. The film also blends idealism with music in a way that the songs of Syd Barrett-era, Booker T & the MG's, Nick Drake, and an inspiring rendition of a Phil Ochs song by Johnny Flynn feel organic to the scenes in which they are used.When the students ultimately gain a sense that life is governed by practicality as well as idealism, they gradually drift away to parents, jobs, school and the careers that will shape their lives, but they have already made a difference. Though their immediate objectives were only partially met, later in the year, uprisings began in Poland and Czechoslovakia that would have a profound effect on the Soviet system, protesters marched at the Democratic Convention in Chicago, rioted at Kent State, and the brutal war against a small, peasant country came to an end several years later.Though the film is more about personal goals and ambitions than revolution and Assayas does not shed much light on the causes that the students fought for, no film in recent memory has presented such an authentic view of the immediacy of the period as Something in the Air. The feeling of change is electric and its mood is brilliantly reflected by the film's lack of cynicism and condescension. Assayas brings us back to a time when everything seemed possible and people were truly young because the world, maybe for the first time, began to dream of what it would be like to be young with them.