Many have described Mia Hansen-Løve‘s fourth film as the Inside Llewyn Davis of club culture, and the comparison seems particularly fitting, as they both tell the story of an artist’s struggle for fame and his continuous failures. Both Llewyn and Paul are fictional characters, though inspired by real people (the former by folk singer Dave Van Ronk, the latter by the director’s own brother Sven who also co-wrote the script), and they’re both ultimately overshadowed by two very real musicians, Bob Dylan and Daft Punk. Moreover, the two films have an overall melancholic feeling and they both rely on repetitions as a narrative device. But, while we follow Davis in his brief journey as if it were a lifetime, we see more than twenty years of Paul’s life condensed in 131 minutes, following a rythm that strangely feels long and rushed at the same time.
There are some very inspired moments in this weird creature that is Eden, the most memorable consisting in the wonderful use of Daft Punk’s Veridis Quo in a crucial scene, and it also has the perk of being mildly interesting and comprehensible even for those who aren’t into dance music, but in the end it feels a bit too dragged and incomplete.
Anyway, I wasn’t familiar with Hansen-Løve’s filmography and Eden made me want to watch her other features, so my conclusion is that I watched a good film.