Songs, Sex, and the City: Reconfiguring Borders in Christophe Honoré's Les Chansons D'Amour

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French critics had already consecrated Christophe Honoré "maître de la mémoire vivante du cinéma français" on the basis of his third film, Dans Paris, released less than two years before Les chansons d'amour previewed at the 2007 Cannes film festival (Tootpadu). Moreover, the reviews of both films also make it clear that over the years a once radically innovative Nouvelle Vague has somehow become synonymous with what is now considered 'classical' French cinema. In this context, it is a particular pleasure to discover that Honoré's constantly surprising fourth film in fact creates an entirely original place of its own by reconfiguring not only the borders of a number of different film traditions and genres but also by redrawing the boundaries of cinematic Paris.

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