Martin Teller In CAFE LUMIERE, Hou paid tribute to Ozu. Here it's Lamorisse and his famous short film. I liked this more than any other Hou I've seen so far, which is odd because it seems to be considered one of his lesser films. Perhaps I only like Hou when he's not being so Hou. There was a lot to decode here, but I think one of the primary messages is the meeting of two cultures. The red balloon could be associated with the red prominent in Chinese culture, floating through and discovering Paris much in the same way as the director himself. The balloon seems to watch over and sympathize with the characters but doesn't ever connect. We have Juliette Binoche (in a very warm and relateable performance) practicing the art of Chinese puppet theater, and in her employ is Fang Song (another very likable performer), a Chinese nanny. These characters interact and even have moments of tenderness together, but they are detached, not quite involved in each other's lives. And then there are multitudes of instances being seen through windows, in reflections, through a camera, on a screen, via a child's toy. We are separated, but I see you and watch you with care. Outsiders looking in, doing what they can. I enjoyed my time with these characters and was engaged with their situations, understated though they might be. Lovely photography by one of my favorites, Mark Ping Bin Lee, and a gentle score. Makes me wonder what I've missed in Hou's other films.

ishay1948 There are 4 different reasons for making me enjoy the movie. First is the wonderful way most of the actors play their roles. Juliet excels in the way she perform the liberal free women, sensitive and caring mother. Also other player, including Juliet son, made me feel very convinced and comfort with their roles.An extra ordinary job made the art director. The interior design of the flat, where most of the scenes took place, gave me an exact feeling of an old European flat inhabited with very vivid characters. I could almost sense the smells of the different spots in the apartment like the small dining room (the table), the kitchen and the living room.Walking through the street of Paris gave me the feeling of a day off out of the office without any specific plans or duties. For me it's the best way for relaxation and that how I felt watching the movie.Last but not least, happiness can be found in small apparently non important issues. There is plenty of that type of items spread around the scene like fixing the piano, information regarding the child progress at school.

crey014 Art of a very high order, Hsiao-hsein Hao directs the Musee d'Orsay commissioned "The Flight of the Red Balloon", a stand-alone film paying homage to the Lamorisse's 1956 film favorite "The Red Balloon". Directed with class and elegance, although stumbles in indulgent overextended shots and pacing problems, it pays dividends to the patient as we are welcomed into a claustrophobic apartment inhabited by a mother and son struggling to come to grips with a marital separation. The film knows its audience and it caters to them loyally, however won't convert any non-believers.Although not explicit, the sense of chaos is however present right from the point where we enter Suzanne and Simon's apartment in Paris. Clearly not in control of her marital and maternal situation, she drowns herself in work as a puppet show narrator where she can control the fantastic as opposed to her real and disorganized state. Enter Song, a film student who acts as Simon's surrogate as his mother deals with this transitional process.The film's screenplay is as light as a helium balloon, we enter their micro-cosmos through Song, almost this film's allegory towards the original's red balloon as its voyeuristic anchor – nonjudgmental and omnipresent. Although certain scenes clearly leads to nowhere, they are nonetheless welcome as it highlights the reality of the situation and also the characters' desire to reach back to normal. It is clear here, Suzanne desires a somewhat 'normal' family life: almost pleading for her eldest daughter to move back to Paris and for his ex-husband's friend/tenant to leave the property. A daughter of divorce, she knows it is imperative that a routine has to be established.The way Hao films this, it has this odd certain detachment towards the characters, almost a "Wings of Desire" approach, static camera in tow. We see a single mother in despair but the audience isn't allowed to feel anything about it: almost factual. Binoche personifies Suzanne with a quiet dignity and pride that her devastation is disallowed to be brought to the surface, but of course, when things build up to a boil, we can sense her immediate discomfort and frustration.What seems like a nonchalant Simon, he is clearly affected too, as he can't even distinguish his own family tree, to the effect that even the audience can be driven to confusion. He becomes distant to his own mother, finding solace through nostalgia with a long summer with his sister. He and Suzanne's relationship is also obviously affected, as most of the film, they indulge in small talk and when the mother desires for an eye to eye contact, he looks away.The decision to film this in a calming atmosphere as opposed to the chaos in the characters' is a smart idea: it highlights the juxtaposition even more. As opposed to the Lamorisse classic, the maternal figure here is in focus. The film works within its parameters and Hao does not belittle its audience – of course, only to those willing to be engulfed by it.

ematerso I was bitterly disappointed in this movie which had gotten a glowing review from one source I read but I should have paid more attention to the negative reviews on this board. The device of the freely floating and very large red balloon is at first charming, then aggravating and finally maddening! Most of the camera shots were very close in close and claustrophobic situations. Suzannes apartment, the streets of her neighborhood, the visits to her puppet theatre. Suzanne (Juliette Binoche) is one of those frazzled people who is yet canny and shrewd and not so really out of control as you would think from the condition of her apartment and her activities. She is a loving but remote mother to her 6 or 7 yr old son, Simon. The nanny, Song is properly attentive to her charge but obviously more interested in her film career. There is Simon's absent older "sister" (Is it she we see in the scenes with Simon and a Suzanne with a different hairdo?) She lives in Brussels with her grandfather. We don't know why. Marc and his girlfriend are tenants of Suzannes but don't pay rent and use her kitchen. Simon takes piano lessons in a piano in Marc's apt. Suzanne has the piano moved upstairs and we hear a long description of injuries one can receive from moving such things. We go on a train ride. There were three things I found of interest in this movie. 1) you use green rather than blue for erasing on a computer. 2) the teacher with the children in the museum was interesting. Can't remember the third so I guess it wasn't so interesting after all. I gave it 2 stars because all of the actors were good, but it may have been hard to tell. This was so bad I was praying for it to end and I am an atheist.