At last a little light in a world often too dull. The simplicity, yet originality of this sweet romantic movie gives wings to one's heart and does show us that one short instant can change one's life. I don't want to say much more because I would hate to spoil the surprise for viewers. All I can say is that if you feel that your life is somehow heading where you don't want it to, if you're feeling lonely or afraid by things going beyond your control, then you might find some sort of answer and comfort in these short eight minutes! I now can't wait to see Mr Guillaume Martinez offering us a full long movie! Thanks for your talent!
2 Reviews
Film critic
Wpfix3 October 2011
Warning: Spoilers
July 19th, 2007 | by Gautam Valluri brokenprojector.com
Perhaps cinema is a language in itself. But then such a statement would be inaccurate as language is limited to geographical and ethnic boundaries. Cinema is understood by all, despite the language or even more so the lack of it. Human beings have somehow always managed to communicate, even without the use of a word being spoken. The irony is not lost on Director Guillaume Martinez and his film "Gratte-Papier".
The title modestly translates into 'Scratch-paper' and it is the very same modesty that outlines the way the short-film is presented. The film fades in to a normal evening inside the Parisian metro: a young man (Benjamin Bellecour) enters. He just hangs around minding his own business and then when a seat nearby is vacated, he seats himself there. He takes out a book and starts reading with the help of a pencil. For a moment it seems like everyone on board is watching him. He gets a slight sense of it and moves into a more agreeable seating posture. Enter: young woman played by the charming Gaëlle Brunet. She ends up taking the seat next to our hero and in the very same manner that he did, she also pulls out a book and starts reading.
One of the most striking things that Martinez triumphs so well at is the way he makes the viewers relate to the Bellecour's character so quickly. After all the film lasts a mere 8 minutes. We immediately start liking him and we want him to talk to the charming young woman sitting on his side, we want him to say something almost to the point where we are compelled to scream "make a move" out at him in French. He doesn't, but we know he wants to. He notices the gentleman right across staring at the young woman and back at him. Still he doesn't turn around and say anything. He takes the book he's reading into her view and circles certain words among several paragraphs to form a sentence that conveys his message to her. It merely reads (in french):
"All eyes around are on you"
With this line, there is an unusual conversation that is sparked. She replicates his method and provides him with an answer. And what follows is a series of exchanges between the two charming characters as they seem to connect. The depth of the exchange is so well captured that we feel the tension between them as each word is circled.
And eventually her destination arrives and she has to go. There is a certain kind of sadness that starts to rise at this point, in both the young protagonist and the viewer. And just before she leaves, she writes something on a page. It is her phone number. Our hero smiles a sign of victory, we're left spellbound and happy.
Martinez takes a dull Parisian metro ride and transforms it into a fantastic setting for a romantic event, and achieves it without a word being spoken between the two leads. The film won the 'Silver Bear' at Berlin 2006 and stands out as one of the finest French short-films ever made. How did Martinez do it? Only he knows.
Perhaps cinema is a language in itself. But then such a statement would be inaccurate as language is limited to geographical and ethnic boundaries. Cinema is understood by all, despite the language or even more so the lack of it. Human beings have somehow always managed to communicate, even without the use of a word being spoken. The irony is not lost on Director Guillaume Martinez and his film "Gratte-Papier".
The title modestly translates into 'Scratch-paper' and it is the very same modesty that outlines the way the short-film is presented. The film fades in to a normal evening inside the Parisian metro: a young man (Benjamin Bellecour) enters. He just hangs around minding his own business and then when a seat nearby is vacated, he seats himself there. He takes out a book and starts reading with the help of a pencil. For a moment it seems like everyone on board is watching him. He gets a slight sense of it and moves into a more agreeable seating posture. Enter: young woman played by the charming Gaëlle Brunet. She ends up taking the seat next to our hero and in the very same manner that he did, she also pulls out a book and starts reading.
One of the most striking things that Martinez triumphs so well at is the way he makes the viewers relate to the Bellecour's character so quickly. After all the film lasts a mere 8 minutes. We immediately start liking him and we want him to talk to the charming young woman sitting on his side, we want him to say something almost to the point where we are compelled to scream "make a move" out at him in French. He doesn't, but we know he wants to. He notices the gentleman right across staring at the young woman and back at him. Still he doesn't turn around and say anything. He takes the book he's reading into her view and circles certain words among several paragraphs to form a sentence that conveys his message to her. It merely reads (in french):
"All eyes around are on you"
With this line, there is an unusual conversation that is sparked. She replicates his method and provides him with an answer. And what follows is a series of exchanges between the two charming characters as they seem to connect. The depth of the exchange is so well captured that we feel the tension between them as each word is circled.
And eventually her destination arrives and she has to go. There is a certain kind of sadness that starts to rise at this point, in both the young protagonist and the viewer. And just before she leaves, she writes something on a page. It is her phone number. Our hero smiles a sign of victory, we're left spellbound and happy.
Martinez takes a dull Parisian metro ride and transforms it into a fantastic setting for a romantic event, and achieves it without a word being spoken between the two leads. The film won the 'Silver Bear' at Berlin 2006 and stands out as one of the finest French short-films ever made. How did Martinez do it? Only he knows.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
