![Guillaume Canet and Gilles Lellouche in Paris Pigalle (2018)](https://m.media-amazon.com/images/M/MV5BYTU2Zjk1OGQtODA0NS00ZDQ0LWJjZDQtMjhmNzUxZGVhNGRlXkEyXkFqcGdeQXVyMTUwOTU0Mw@@._V1_QL75_UY207_CR6,0,140,207_.jpg)
![Guillaume Canet and Gilles Lellouche in Paris Pigalle (2018)](https://m.media-amazon.com/images/M/MV5BYTU2Zjk1OGQtODA0NS00ZDQ0LWJjZDQtMjhmNzUxZGVhNGRlXkEyXkFqcGdeQXVyMTUwOTU0Mw@@._V1_QL75_UY207_CR6,0,140,207_.jpg)
A cinematic love letter to the sleazy Golden Eighties, writer-director Cedric Anger’s Paris Pigalle (L’Amour est une fete) takes us back to a time when coke, disco, easy women and unapologetically libidinous men were as easy to come by as a bad haircut.
It’s a picturesque setting for what basically plays out like a French Boogie Nights, with a comparable amount of sex, drugs, celluloid and music montages, but without compelling characters or conflicts. Gorgeously made yet strangely shallow, this retro tale of two undercover cops who infiltrate the Parisian porn and peep-show scene spends too much time celebrating ...
It’s a picturesque setting for what basically plays out like a French Boogie Nights, with a comparable amount of sex, drugs, celluloid and music montages, but without compelling characters or conflicts. Gorgeously made yet strangely shallow, this retro tale of two undercover cops who infiltrate the Parisian porn and peep-show scene spends too much time celebrating ...
- 9/26/2018
- The Hollywood Reporter - Film + TV
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