Acknowledging the somewhat contentious reception of 'Les Amants du Pont Neuf', both within and beyond France, this article argues that it is a reflection of the film's complex postmodern narrative in which identities are multiple and linearity is replaced by musical structures and playful self referentiality.
|Title of host publication||The Cinema of France|
|Place of Publication||London & New York|
|Number of pages||9|
|Publication status||Published - 2006|