Plot Details: This opinion reveals major details about the movie's plot.

The French NEO-New Wave of the 80's was made by (and for) the younger generation. Some of the more conservative French critics label this neo-New Wave of film making "Cinema de Look," explaining that these young directors are more concerned with artificial colors against Hallmark card settings than they are with socially meaningful storylines. Cinema de Look films are basically criticized for embracing "style over substance," and unimpressed critics predicted the movement would buckle sooner rather than later... they were wrong.

The international community granted Cinema de Look a second chance after the English-language movie "The Professional" was released and embraced worldwide. In the late 1990's, the French neo-New Wave style stormed Hollywood with the science fiction/comic bookish release, "The Fifth Element," and later (to a lesser degree) "The Messenger." However, most of the movement's most popular directors have tamed with age, and the rest have gradually faded out of the French limelight. Leos Carax, considered to be part of the neo-New Wave club, has been struggling with critics ever since his first major film "Boy Meets Girl" was internationally hailed during the early 80's. Like a lot director's who made their "signature masterpiece" early in their careers (Orson Welles, De Palma, to name USA examples), Carax couldn't (and still can't) manage to pump out another worldwide hit. A shame really... Leos Carax watches the star he created (specifically Julliette Binoche, who moved onto "Blue," "The English Patient," and "Chocolat" after her shaping at the hands of Carax) turn into one of the most respected French actresses today, while he releases ignored movies like "Pola X."

"Lovers on the Bridge" is a possessive love story revolving around four characters: Michele, Alex, Hans, and the Pont-Neuf Bridge (yes, a bridge). A restoration of the Pont-Neuf leaves the area fenced off and secluded from the rest of Paris - a perfect habitat for two homeless men, Alex and Hans. Additionally, the Pont-Neuf is a symbol of home and comfortable separation from the real world for the main characters... a sort of "uncharted island." Michele (Juliette Binoche) is a nearly blind painter who mysteriously lands herself on Hans and Alex's turf. Why is she homeless? What is her story? Alex (Denis Lavant) is a downer-addicted nihilist who's past isn't presented, nor of any importance to the audience. His curiosity about Michele's past/story turns into fascination, then eventually extreme love and absolute dependence on her company. Hans (Klaus-Michael Gruber) is a father figure for the couple, and the authority of the bridge. He has a tragic past (revealed during the middle of the film), and something from it prevents him from sharing Alex's warm hospitality toward newcomer Michele.

Smooth styling by director Leos Carax (Boy Meets Girl, Pola X, Bad Blood) together with the creative eye of director of photography, Jean Yves Escoffier, makes "Lovers on the Bridge" boast some of Cinema de Look's most beautiful cinematography ever. The film manages to elevate each frame into something magically appealing, without taking away from the harsh brutality of homeless life. This artful transformation of life on the bridge into bizarre bliss is very tasty eye-candy indeed, and should not be missed by photography fans.

---BIT OF A SPOILER BELOW, SKIP TO THE NEXT PARAGRAPH IF YOU DON'T WISH TO READ IT---
Ultimately, what I love about "Lovers on the Bridge" is the parallel between the Pont-Neuf Bridge and the characters' condition. Throughout the story, the bridge is condemned, barely stable, under repair, and fenced off from the outside world. After Alex serves his prison term and Michele gets the eye operation, we see a fully repaired Pont-Neuf: strong and sturdy, full of light and life. Gotta love that.

To me, there are two key problems with "Lovers on the Bridge." After three viewings, the whereabouts of Hans in the second half of the story STILL remains a mystery to me. The characters of Alex and Michele don't converse at all about his disappearance, leaving me rather frustrated that my favorite character was forgotten. Finally, the biggest problem is the length of the film. Not that I have anything against long movies, just that a straight-forward story like this one should have been edited down. Sure, the photography is fantastic, but the plot wasn't strong or interesting enough to hold my attention the first time I watched it. My second and third viewings went by surprisingly faster than the first, but there are four or five expendable sequences that offer nothing to the atmosphere nor plot and should have been cut. Of course, this is all personal preference; maybe the film's length won't bother you a bit.

While "Lovers on the Bridge" is Carax's second best film (international critics' opinion), it isn't necessarily for everyone. The cinematography is just about as good as it gets, but for those of you who don't enjoy "artsy flicks," steer clear. For the rest of us who eat up that stuff, just make sure that your children are in bed before popping Carax into the VCR - scenes of disturbing imagery, brief but bizarre and equally disturbing nudes (think Schindler's List), and drug-using are all in there.

I recommend "Lovers on the Bridge" to people who are really into photography, and/or romance fans who are sick to death of b-rated American romantic comedies (coined "chick flicks") that always seem to star Sandra Bullock, Meg Ryan, or one of those three actresses from the TV show "Friends."

I'd also suggest viewing films from the first French New Wave (circa 1958-64) if you are into the hardcore realist elements and/or the "moving-camerawork" within the introductory scene of "Lovers on the Bridge."

Recommended: Yes

Viewing Format: VHS
Video Occasion: Good for a Rainy Day
Suitability For Children: Not suitable for Children of any age