Charlotte Dupont, Eric Dietrich, Gladys Deussner

A young foreigner in Strasbourg spends his days sitting at an outdoor cafe, sketching the gestures and expressions of the women around him. Haunted by the memory of Sylvia, a woman he encountered ther...( read more  read more... )e years before, he waits patiently for her to reappear.

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69% liked it

471 ratings

Critics

82% liked it

11 critics

PG-13, 1 hr. 24 min.

Directed by: José Luis Guerín

Release Date: September 14, 2007

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Flixster Reviews (72)


  • December 16, 2008
    A sensual, minimalist film about voyeurism. The film makes great use of depth of focus and reflective surfaces and also benefits from an excellent sound design. Guerín's film depicts the tranquil city atmosphere of Strasbourg, where an unnamed man (the romantic dreamer type) si...( read more)ts at an outdoor cafe and watches the beautiful women setting there and sketches their gestures in his notebook, trying to construct a person scribed as "Sylvie". He stalks one of the woman whom he believes is this Sylvie. For such a simple setup this film was really engrossing and in the end it captured the essence of the main character's longing and romantic fantasy (ala Vertigo). Comparing it to Vertigo may be misleading since this is not a mystery nor does it have much of a plot. It's mostly just shots of the man watching and sketching.
  • June 10, 2009
    Un festín de belleza femenina y del sonido de las calles. La canción "That woman" de Migala es la esencia de la película: "But I want that woman/ that I see in every street"
  • March 18, 2009
    uniquely deep - you either love it or hate it
  • January 27, 2009
    MAPPED on the droll urban odysseys of latter-day de Oliviera, José Luis Guerín?s In the City of Sylvia is a portrait of the artist as a young stalker, in which a dreary-eyed bohemian (known only as ?him?) pursues a beautiful woman through the unmarked streets of Sylvia. A fantasy...( read more) Euro-locale ? all sun-glinted cobblestone and historic facades ? Sylvia forms the perfect medium for its hero?s desire, and while hardly the first to twin the creative impulse with the libidinous one, there?s a method to Guerín?s horniness that rises above hat-tipping the ?gaze? in order to scope out girls: Striking an impossible balance between irony and wonder, he transmutes the raw base of his lead?s quest into a meditation on the act of creation.

    Following a title card (bearing the semi-biblical declaration, ?1st night?), the film awakens, mid-reverie, inside the man?s bedroom, where a Zen-like scaffolding has been erected around the gaudy cliché of the artist-in-search; enveloped in bird-chatter and the early-morning light, he sits perched above a notepad, staring blankly into space. The sense of calm is briefly annulled however when, moved by the boon of inspiration, he enters into a self-conscious ritual ? miming invisible thoughts on his lips, before hurriedly spewing them on paper. Won-over, he then makes his way over to a local café, at the site of which ? bathing in Guerín?s lazy rhythms ? he tries to strike up a conversation with a girl; she greets him with dead-faced silence, and the scene culminates in the punch-line of spilled beer.

    The ?2nd night? opens with a study of light and shadow, generated by cars passing outside his bedroom window. Guerín then relocates to the same café, where yesterday?s lone girl has bloomed into a sea of faces. Seemingly tamed by rejection, the man only watches this time, pulsing his gaze across the contours of a dazzling, sustained sequence, in which the camera rallies his vagrant sightlines into a Manet-like tableau of urban communion. More than simple tapestry though, Guerín?s fixated shots have a way of stripping life to an absurd essence: People seem to hover in a distant glaze, their conversation reduced to empty ambiance, their actions the site of dully orchestrated miscommunications, as when a waitress repeatedly confuses the clientele?s orders. In other words, they?re a raw, senseless material, placidly awaiting the balm of narrative; that much is delivered when the man picks out a ghostly brunette from behind a smear of reflections, catalyzing a chase through the city whose roundelays quickly build into surefooted landmarks. Along the way, Guerín?s camera remains a vital commentator, from the way it lingers poignantly in suppressed alleyways ? hinting that Life, as always, goes on ?, to its uncanny ability to record the most delicate of impressions: the shadowed pattern of leaves falling on a face, for example, or the near-impercetible shift in light that envelops the stalked, as she impatiently awaits a train.
  • May 17, 2008
    very interesting, and it leaves you a sesation of seeing things differently after watching the movie.

Critic Reviews


December 9, 2008
Nick Schager, Lessons of Darkness

Would be trying if not for the confidence, grace and subtlety with which José Luis Guerín handles his deliberately open-ended material. full review

View more En la Ciudad de Sylvia (In the City of Sylvia) reviews at RottenTomatoes.com

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