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The Girl from Paris(Une hirondelle a fait le printemps)

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France · 2001
1h 43m
Director Christian Carion
Starring Michel Serrault, Mathilde Seigner, Jean-Paul Roussillon, Frédéric Pierrot
Genre Drama, Comedy

Sandrine, a woman in her thirties gets tired of life in Paris and decides to leave her work in computers and become a farmer. She takes the required practice for two years, and after that she buys an isolated farm from Adrien, an old farmer who decides it's time to retire. However, Adrien wants to stay a few more months before moving away from the farm, and the rough winter finds them together...

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What are critics saying?


Film Threat by

It's in the characters that the film works beautifully, right up to the clever and tender final sequence.


Philadelphia Inquirer by Carrie Rickey

The scenery is majestic, the goats adorable, the characters alternately gruff and tender. Like the best storytellers, Carion delays vital information about his characters that makes their dynamic increasingly interesting.


Washington Post by Desson Thomson

The movie, which Carion wrote with Eric Assous, has a calming quality. The story moves slowly but, given the milieu and pace of life, this seems perfectly appropriate.


L.A. Weekly by Ella Taylor

The Girl From Paris may not have half the smooth technique of "Swimming Pool," but it has 10 times the heart and soul.


New York Daily News by Jack Mathews

Moves as slowly and deliberately as it sounds, but Seigner and Serrault are extremely effective in roles often requiring them to work alone, or together in loaded but wordless exchanges.


The A.V. Club by Keith Phipps

Carion and his gifted leads never take the easy way out. Instead, they let the characters get acquainted against the slow change of the seasons, taking their relationship along unexpected turns.


Los Angeles Times by Kevin Thomas

Wise, understated, warm and witty, it presents stars Michel Serrault and Mathilde Seigner in roles that fit them so perfectly they could have been tailor-made.


TV Guide Magazine by Maitland McDonagh

Yes, the story is pure formula, though given less twinkle and lip gloss than Hollywood would have brought to bear on it; the film is so remake-friendly you can cast it in your head.


The New Republic by Stanley Kauffmann

Precisely the point of films in this genre is to provide pleasant predictability. We collaborate, in a way: we chuckle silently as, so to speak, we make the film ourselves.


New York Post by V.A. Musetto

Carion, in his feature debut, means well, and his characters are lovable. But the plot is so predictable and sentimental that viewers are likely to lose interest before Sandrine and her goats walk off into the sunset.

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