French drama The Flight Of The Red Balloon has been praised at film festivals, but it's likely to divide audiences less tolerant of arthouse minimalism.
The Flight of the Red Balloon (2008)
Tomatometer
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Reviews Counted:79
Fresh:63
Rotten:16
Average Rating:6.9/10
Consensus: Hou Hsiao-hsien's remake of the 1956 classic is unhurried, contemplative, and visually rapturous.
Theatrical Release:14-03-2008
Synopsis: In 1956, Albert Lamorisse made THE RED BALLOON, a short in which a young boy, played by his son, makes friends with a red balloon. Some 50 years later, Taiwanese auteur Hou Hsiao Hsien has made his... In 1956, Albert Lamorisse made THE RED BALLOON, a short in which a young boy, played by his son, makes friends with a red balloon. Some 50 years later, Taiwanese auteur Hou Hsiao Hsien has made his first French-language film, the charming and subtle FLIGHT OF THE RED BALLOON, commissioned by the Musée d'Orsay and inspired by Lamorisse's children's classic. A blonde Juliette Binoche stars as Suzanne, a single mother living in Paris, doing her best to raise her seven-year-old son, Simon (Simon Iteanu), while preparing her latest puppet show, based on the Yuan Dynasty story of Zhang Yu and his beloved, Qiong Lian. Suzanne hires Song (Song Fang), a Taiwanese film student, to come to Paris to take care of Simon. Song goes everywhere with her camera, filming everything she sees. Meanwhile, Simon is being followed by a red balloon that has grown attached to the boy. The balloon, which seems to have its own personality, hovers over the boy and his family as Suzanne struggles with her daily life, fighting with tenants who owe back rent, moving a piano, and getting ready for the puppet show. Hou, the director of such widely acclaimed films as THE PUPPETMASTER, FLOWERS OF SHANGHAI, and CAFE LUMIERE, has created a touching, beautiful film in FLIGHT OF THE RED BALLOON, which opened the 2007 Cannes Film Festival and was also selected for that year's New York Film Festival. Not only does the balloon serve as a character unto itself but so does the city of Paris as Song and Simon walk through the streets and ride the train. All the dialogue in the film is improvised, shot in long takes by cinematographer Mark Lee Ping Bing; Hou provided each of the actors with the general scenario and back story and then had them fill in the dialogue and movement themselves, adding a natural authenticity to the film. [More]
Starring: Juliette Binoche, Simon Iteanu, Hippolyte Girardot, Song Fang
Starring: Juliette Binoche, Simon Iteanu, Hippolyte Girardot, Song Fang, Louise Margolin
Director: Hou Hsaio-Hsien
Director: Hou Hsaio-Hsien
Screenwriter: Hou Hsaio-Hsien, Francois Margolin
Producer: Francois Margolin
Composer: Camille, Constance Lee
Studio: IFC Films
Reviews for The Flight of the Red Balloon
An odd tale of life on the winding streets of Paris, The Flight Of The Red Balloon isn't without its moments of beauty, but its vague story and aimless tone is more likely to frustrate than enchant.
It's beautifully filmed but nothing really happens in the two-hour running time.
With a fondness for reflective surfaces and long takes, Hou picks up an everyday situation, observes it from various angles, gives it a gentle shake, then puts it down again, seemingly without comment.
An exceptional piece of filmmaking, intricate, elaborate and exuding warmth and wisdom from its every frame.
While nothing really happens in the leisurely French debut of lauded filmmaker Hou Hsiao-Hsien, it doesn’t happen in the most beguiling of ways.
Beautifully shot, but ultimately dull and plot-free drama that's both elusive and frustrating, despite a strong performance from Binoche.
Nothing much happens in The Flight Of The Red Balloon, and that's all by design: [director] Hou means to evoke a city and a few of the lonely characters within it, and he does so with consummate grace, affection, and a subtle touch of magic.
Flight looks at the world the way a kid would, taking it all in and sifting for clues.
For the first time, the great Taiwanese filmmaker Hou Hsiao-hsien (Three Times, Café Lumiere) has made a movie set outside of Asia. The project, alas, is of little interest.
The question is whether it really makes sense to turn Lamorisse's fanciful original film into a downer family drama; it's sort of like doing a modern-day version of "Narnia" where the kids never find the wardrobe.
A relatively slight but sturdy work by Taiwanese master Hou Hsiao-hsien, this slice of contemporary urban life more or less does for Paris what his Cafe Lumiere did for Tokyo, albeit with less minimalism and more overt emotion.
Even in his most commercial effort, Hou [Hsiao-hsien] has set himself an impressively daunting artistic challenge.
Plenty of well-meaning filmmakers advertise emotion without contextualizing it. Hou's latest film feels to me like a masterpiece responding intuitively to a masterpiece.
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