CQ

Plot synopsis:
In Paris in 1969, young film editor Paul Ballard (Jeremy Davies) is currently working on a science-fiction adventure film called Codename: Dragonfly, written and directed by renowned director Andrezej (Gérard Depardieu).
In Codename: Dragonfly, Valentine plays "Dragonfly," a sexy freelance super-agent - in the futuristic year of 2001 - who lives in a spaceship perched on top of the Eiffel Tower and undertakes assignments for the "World Council". Dragonfly's latest mission is to stop a revolutionary leader known as "Mr. E" (Billy Zane) who is based on the "far-out" side of the Moon. The World Council turns for help to Dragonfly, reluctantly because she charges huge sums of money - with which the council literally showers her.
Andrezej is utterly infatuated with his film's star, Valentine (Angela Lindvall), a young American whom he discovered at a political rally some time ago. Paul, an aspiring filmmaker working on Codename: Dragonfly, regularly borrows cameras and other equipment from work in order to film his own project: a documentary of his own self-reflections. When the producers prove unhappy with Andrezej's ideas for the movie's ending, they fire him. They are particularly upset with Andrezej's ideas for what they had expected would be an action movie: Andrezej believes it should end with a whimper instead of a bang, in order to subvert the audience's expectations.
Andrezej is first replaced with the flashy Felix DeMarco (Jason Schwartzman) - but ultimately producers settle on Paul. Much as Andrezej before him, Paul finds his efforts to complete Codename: Dragonfly stymied by his infatuation with Valentine. Paul has a girlfriend, Marlene (Elodie Bouchez), an Air France flight attendant who makes time for Paul despite her schedule, his obvious growing infatuation with Valentine, his obsession with film making and his self-absorption. Ultimately, Marlene leaves Paul, realizing that his obsessions will never include her. Paul is also challenged by the apparent work of a saboteur, who cuts up footage before it can be edited, and who sends cryptic messages to the remaining crew. Others suspect Andrezej - who resents being fired and losing control of what he considers to be his film.
As the crew prepares to shoot a climactic chase scene in Codename: Dragonfly, Andrezej sneaks onto the set and steals their film. Valentine and Paul jump into Dragonfly's car and chase Andrezej through Paris, ultimately confronting him on the banks of the Seine. Paul convinces Andrezej to return the film, and ultimately it is completed, apparently keeping Andrezej's original idea for the ending.
Finally, Paul is a guest speaker at a French film festival in early 1970. Despite signs of stature, he is asked to pass along a script to Felix DeMarco, as though he is still in the other man's shadow. The festival also presents Paul's own film - the collection of self-reflections he'd been shooting over the course of Codename: Dragonfly. In voice overs accompanying Paul's film, it is learned that Marlene and Paul never got back together.

Tags: flashback, romantic, avant garde, home movie

Review:
Paul Ballard (Jeremy Davies), a young film editor living in Paris in 1969, gets his big directorial break when DRAGONFLY, the sexy futuristic (it's set in 2001!) spy flick he's editing, loses not one but two directors.
Once he's at the helm of the big-budget SF schlockfest, Paul has a hard time distinguishing between real life and reel life as he falls in love with the bewitching Valentine (Angela Lindvall), an activist-turned-actress making her film debut as "Agent Code Name: Dragonfly."  Think of this comedy-drama as a sort of 8½ or DAY FOR NIGHT for the baby boomer generation.
It's clear that writer/director Coppola (Francis Ford Coppola's son, big shock :-) has great affection for the art of filmmaking in general and for kooky, cheesy 1960s Eurocinema romps such as BARBARELLA and DANGER: DIABOLIK in particular (neat in-joke: the leading man of those films, John Philip Law, appears in CQ as Dragonfly's spymaster).
The excellent cast helps a lot, particularly Dean Stockwell's touching turn as Paul's father, the ever-smooth Billy Zane as Dragonfly's revolutionary adversary/lover "Mr. E," and the hilarious performances of Giancarlo Giannini as a Dino deLaurentiis/Carlo Ponti-esque producer and Jason Schwartzman as the wild 'n' crazy replacement director who gets replaced himself after he breaks his leg in a sports car accident.
It's great fun to watch Lindvall switch from throaty-voiced siren Dragonfly onscreen to sweet, endearing animal lover Valentine offscreen, plus she's got the most expressive eyebrows since Eunice Gayson in DR.
CQ is an engaging, if loosely structured movie, managing to be simultaneously inventive and derivative, borrowing from and paying homage to everything from La Dolce Vita to the Marx Brothers.Its primary source of influence is, of course, 1968's Barbarella, here thinly veiled as the fictional "Dragonfly", as the film within the film.
CQ is about how Paul, a young editor (Jeremy Davies), working on said "Dragonfly" deals with balancing his career and his relationship as he works on both the big-budget sci-fi epic and directing his own personal documentary film.
This set-up provides Coppola with three different planes of action going on – real life, the black and white documentary and the colorful, sexy, futuristic world of "Dragonfly".
The fun really begins when Coppola deftly uses these formats to blur the lines of fantasy and reality when Paul, in his search for himself, begins to lose sight of where the boundaries for each of these worlds lie – or if they even exist.In addition to Coppola's stellar usage of mixed media, the other key to CQ's success is Jeremy Davies, an extremely talented and severely underused young actor who quite possibly should have won an Oscar for his work in Saving Private Ryan and at least should have been nominated for last year's Rescue Dawn.
It's that extra layer of thought he puts in to his performance and those unusual choices he makes that allows the character to feel fresh – different than what we're used to while at the same time, wholly plausible.After all is said and done, with all its layers of meaning and different milieus represented within it, CQ ultimately becomes a dissertation on film and the nature of filmmaking as an artform.
(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon.)There are two films within a film in this campy debut from Roman Coppola.
There is the introspective black and white, experimental, "student" sort of film that the young director Paul (Jeremy Davies) is making in his Paris apartment, and there is "Dragonfly," a kind of Barbarella (1968) sci-fi space shoot 'em up that he ends up directing.
These represent the bookends of the young director's reality.The third film, the film that exists over and above these two, is the film that Roman/Paul would like to make, a film about what it is like to be a young film maker amid the crass commercialism of the producers, the seductive lure of the glamor that is the film maker's world, and the daily often tedious work of the actual film making.
Playing opposite her is Billy Zane as "Mr. E" a kind of Che Guevara revolutionary who is absurdly stationed on the far side of the moon where he is training revolutionaries.In the introspective black and white film, Paul sits on the commode and talks to the camera much to the disdain of his live-in girlfriend Marlene (French actress Elodie Bouchez, best known for her work in the outstanding The Dreamlife of Angels (1998)) who would like him to pay more attention to her.This might be compared (distantly) with Francois Truffaut's La Nuit Américaine (Day for Night) from 1973 in which the great French director plays himself making a film--in other words a film within a film.
It is easy to see Truffaut's influence on Roman Coppola, as indeed Truffaut has influenced many directors.I don't think CQ ("Seek You") was entirely successful mainly because I don't think Roman made the transition from the self-indulgence and showiness characteristic of the very films he is satirizing to the mature project that addresses itself more directly to the needs of the audience.
There is some fancy camera work with mirrors and characters seen from interesting angles, and some beautifully constructed sets, and some witty dialogue amid some telling satire of filmland people and their world (especially producer Enzo played by Giancarlo Giannini and Dragonfly's idiot second director), but we are never made to care about what happens to any of the characters, this despite the fact that Davies is a very sympathetic actor.Some of the jokes in the film include the three-day five o'clock shadows on the faces of the young actors.
Orwell's 1984 (from 1948) has not yet arrived, nor has the overpopulated, polluted world from Blade Runner (1982).Appearing in small roles are Dean Stockwell as Paul's father, and veteran French film star Gerard Depardieu as Dragonfly's original director.Bottom line: worth seeing if only because it is the first film of the son of Francis Ford Coppola who may yet do something to rival the great works of his father.
By the way, this might also be compared to The Virgin Suicides (2000), his sister Sofia Coppola's first film, just to see who is more likely to best please Dad. I'm taking no bets..
CQ (2002) *** Jeremy Davies, Angela Lindvall, Elodie Bouchez, Gerard Depardieu, Giancarlo Giannini, Massimo Ghini, John Phillip Law, Jason Schwartzman, Dean Stockwell, Billy Zane.
Filmmaker Roman Coppola proves to be a chip off the old block (his dad is Francis Ford, duh!) with this sweetly dark comic valentine to foreign films of France and Italy focusing on a struggling film editor/auteur wannabe (Davies in all his squirmy, milquetoasty glory) assigned to a disastrous sci-fi B flick where he winds up being a replacement director and falls deeply in love with his gorgeous starlet (Lindvall, the epitome of sex echoing the leonine good looks of Catherine Deneuve at her start) in the process.
If there is a criticism it is that it is a bit slight in its theme (filmmaker's navel gazing fails to see the big picture: love is all around) yet there's a nice homage to Coppola's relationship with his famous father in the interplay between Davies and his onscreen father Stockwell, an absent-minded businessman, echoing nicely.
The one scene that has any real film spoof humor at all is, surprisingly, not the B-movie scenes, but rather one which takes place in Italy; a montage of shots of several various characters inside a very small car, driving around picking up and dropping off random people.
Characters that might be interesting, such as his father, his doppelganger, or Jason Schwarzmann as a hack director are introduced and then shown the door without adding a thing.This movie is full of eye candy but when compared to other films about filmmakers such as Stardust Memories or 8 1/2 it pales in comparison.
The actors say it's an homage but I think I would rather a full-length version of Codename:Dragonfly.Coppola is clearly amused by the setting as is evident by the visual humor of the sci-fi movie within a movie.
What?Just because he has a scene were the filmmaker is confronted by the critics complaining about the lack of story, lack of a point, a scene where he admits empty cleverness does not mean that he has addressed those criticisms.I guess if your Roman Coppola you can get away with making a movie about an angst-ridden idealistic filmmaker who doesn't know what he wants to say and so ends up saying nothing.
The story is fun and the technical way that they made this film (they only used technology that was avilable in the by 69) gives me a little more respect for this movie.
This is a good movie for people who like mysteries (it's not a mystery, but there is a lot of foreshadowing that could be easy to miss or dismiss.) This is a movie for people who love the visually interesting (note that when Jeremy Davies character is talking to his dad, you see his dad's reflection in the mirror behind Davies' - amazing cinematography.).
Throughout all of CQ, I wanted to know how Paul was going to end Dragonfly.In a change of topic, I would like to mention something about films that take place in the somewhat recent past.
CG is a film about the creative process thru the director working on a film just a stupid and banal as HOWARD THE DUCK.It tells the story of a young and talented film editor named Paul (Jeremey Davies, Spanking the Monkey) and his short stint as director on a B grade science fiction film in 1969.
Paul is called in to finish the picture.First time director Roman Coppola, has crafted a disjointed but still overly satisfying film.
Like any number of craftsman and artisans he's the real talent and he props up those around him.I loved how Coppola, counterpoints the silly B movie with Paul's other black and white art film.
The story here has a European sci-fi film called "Dragonfly" being made and the director is fired.
Film is written and directed by Roman Coppola who uses some of his fathers exploits from his early days and puts it into the script.
I guess I'm going to have to continue waiting for a director to make a good homage to the films of the sixties.
A couple laughs and some thoughtful art direction are the only things worth watching here.The film is also interesting as documentation of Jason Schwartzman's fall from Mount Rushmore.
(As a writer myself, I am fully aware of this process, which never fails to amaze me.)  Roman Coppola has taken his real-life experiences (growing up in the movie biz as he has) and recycled them into something quite unique, entertaining and accomplished.
Given an awful sci-fi film to rescue from a fired director, by a producer who is both intuitively brilliant and ridiculously old-school, the editor obsesses over the ending while falling in love with the star.The stylishness of this film is as important as the story.
This movie stars Jeremy Davies as a film editor who is promoted to director after the first two directors are fired.
I've liked everything I've seen Jeremy Davies in and Billy Zane is good as a gay leading man.
The way the director in the movie confuses illusion and reality was Coppola's attempt at pathos while ripping off Fellini.
To cannibalize my own reference to it in the review I wrote for Mario Bava's DANGER: DIABOLIK (1968), this is "a homage to the European style of film-making circa 1970": while pretty interesting in itself (particularly its behind-the-scenes look at a lowbrow sci-fi picture), the film unwisely also tries to recapture the feel of an art-house flick by having its wannabe film-maker editor shoot an autobiographical film in cine-verite' style; however, this section is pretentious and fairly boring - as opposed to the charm and sheer nostalgia of the sci-fi/espionage ambiance!
Roman Coppola has worked on his father's films since he was a teenager, doing sound on The Outsiders and directing the second unit and special effects for Bram Stoker's Dracula.
The action takes place in Paris in 1968 and involves a character named Paul, an idealistic American film student who ends up directing a sci-fi b-movie.
Coppola has nailed the time and place perfectly  Paris in 1968 looks like the hippest spot on earth  coaxed good performances from his actors and put together a soundtrack that actually adds to the movie, rather than just support it..
The lead character is played at just the right level of smartness and sweetness by Jeremy Davies as a young aspiring film maker who's working as a directors assistant who in a plot twist ends up directing the film himself at the end.
This is the first film by Roman Coppola, who wrote it as well, and it is visually beautiful and innovative with a good balance of fast paced story advancement and quieter character development moments, like some between Davies and the great Dean Stockwell who plays his father.
I really enjoyed this film and was a bit surprised actually how much I liked it, anyone who doesn't get the obvious cliche ironic cinematic references or can't appreciate some of the campy good spirited fun by calling it "Stoopid" needs to lighten up..
Jeremy Davies is excellent as the lens through which we see the intersecting of the lives of all of the film's characters, and it's most compelling when the lens is turned inwards on Davies' character.A great debut by Roman Coppola.
The extras are fantastic, and you get to see the real-life inspirations for Mr. Coppola, and how oddly personal the story truly is.But basically, it is a very funny, and at times touching and sweet, film debut..
Writer and director Roman Coppola has managed to incorporate enough humor and drama into his artistic expression that the movie will be enjoyed by almost all who see it.
Director Roman Coppola comes out from behind the shadow of his father (Francis Ford) to make a very impressive directorial debut.
In fact, the movie that they're working on in the film ("Dragonfly") looks like something that would be seen on a re-run of "Mystery Science Theater".
The attention to detail looks great and most of the film looks like it was shot around the same time as "Barbarella" (in fact, John Phillip Law even has a cool part in it).
Solid lead performances by Jeremy Davies ("Saving Private Ryan") and Elodie Bouchez and humorous supporting roles by Billy Zane, Gerard Depardieu,  and Jason Schwartzman round out the excellent cast to make one of the most fun, stylish movies in recent memory.
Roman Coppola's CQ is not a satire of campy 60's sci-fi, it is an homage, and it's also a very thoughtful film on the balance between art and entertainment.
The movie stars Jeremy Davies (Saving Private Ryan and Spanking the Monkey) as Paul, an American filmmaker working in Paris on the B picture Codename: Dragonfly and his own personal project about his life in Paris with his French girlfriend Marlene (Elodie Bouchez).The film within the film, Codename: Dragonfly, is a hoot.
Also working on the film is Billy Zane playing the Che Guevara-like rebel leader, John Phillip Law as the Corporation Chairman, and Angela Lindvall as Dragonfly.
As the character of sex-kitten secret agent Dragonfly she exhibits great comic timing and understatement.Where CQ didn't work as well for me were the sequences where Paul is struggling to come to terms with his personal film.
I would recommend seeing CQ for the Codename: Dragonfly scenes alone, but Coppola's debut feature is a solid film  with solid performances throughout..
The film stars the ever-impressive Jeremy Davies as Paul, an American living in Paris in 1969, working as an editor on low budget sci-fi flick "Dragonfly", under the direction of the temperamental Andrezej (Depardieu).After a rift with the film's investor Andrezej is relieved of his duties and it eventually falls to Paul to take over the completion of the movie.
However, in addition to this unexpected responsibility, Paul is also documenting his own life on film, and as he becomes more deeply involved in the two projects, and develops a growing infatuation with Dragonfly's leading actress Valentine (Lindvall), he becomes increasingly distant from his French lover Marlene (Bouchez).
It is clear Roman Coppola's background in music videos has served him well.Jeremy Davis is Paul, struggling to complete an ending to sci-fi picture, Dragonfly, by day, and in his free time, documents his life "with total honesty" in his apartment.
Taking the film-within-a-film concept an extra step, it tells the story of Paul, a young filmmaker in 1969 Paris who is working on both a sci-fi schlockfest (director Roman Coppola's homage to Mario Bava's Danger Diabolik) and a personal art film.
The director's commentary track failed to provide any insight here, mentioning things like "this is my Fellini homage scene" and "my friend's grandmother told him this story about Dragonflies, and I thought it was neat so I put it in".
Jeremy Davies manages to convey Paul's narcissism without making him unlikeable (at least to viewers who understand the relationship of the artistically driven to their work), which is a fine tightrope to walk.In the end, Roman Coppola has given us an entertaining film, but one which is less thoughtful from the audience's viewpoint than he likely intended.
Giancarlo Giannini as the old school producer who can never decide how many films he has made to Gérard Depardieu's as the director whose films have to have soul and not sell out.Biggest credit must go to Roman for choosing Jeremy Davies to play the lead, as I was constantly intrigued how a creative character like his would finish his journey in this film.