Critics of Paris, 13th: What critics say about the sexy French film

“Paris, 13th arrondissement” is the latest photo from the acclaimed director Jacques Audiard, known for his award-winning films such as “A Prophet” and “Rust and Bone”. In its latest, Audiard joins forces with the writer “Portrait of a Lady on Fire” Celine Sciamma and fellow French screenwriter Lea Mysius to tell the story of four young lovers in the electrifying and multicultural 13th arrondissement of Paris. The film opens in select theaters and on demand on April 15.

Adapted from by Adrian Tomine Acclaimed graphic novel, “Paris, 13th arrondissement” weaves an airy tapestry of modern love stories. Lucia Zhang delivers an escapist performance as the free-spirited Emilie, who begins a casual relationship with her new roommate Camille (Makita Samba). Noemie Merlant (“Portrait of a Lady on Fire”) plays wide-eyed student Nora, whose new life in Paris is complicated when she is accidentally mistaken for cam girl Amber Sweet (Jenny Beth).

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The IFC Films the release received rave reviews from critics. At Rotten Tomatoes, “Paris, 13th arrondissement” has an impressive freshness rating of 80% based on 51 independent reviews. Marc Keizer of “audiovisual clubwrites, “A candid, intimate, and genuine examination of the barriers that prevent young city dwellers from connecting.” The praise for this modern, sexy, black-and-white love story continues.

Anthony Lane (New Yorker): “The film has pace and sparkle to spare, and the actors are richly invested in their characters, not shy about making them grumpy and selfish, when needed, as well as likable.”

Neely Swanson (easy drive): “Audiard has the extraordinary ability to create characters that grow exponentially as the story unfolds and envelops them.”

Christopher Lloyd (Yap movie): “A layered and charming look at a French (+1) trio of young people navigating the gray areas between sex and love.”

Mick LaSalle (San Francisco Chronicle): “At any given moment, a different character will seem to be at the center of the film. But as long as we acknowledge that the transformative power of love is the real subject, there can be no mystery about the film‘s intentions or the way it unfolds.

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