Not having constraints of time and place, for the costumes (Florence Fontaine, former costume desig

Without using the overused expression visionary genius Gondry, it's easy to say that this film may appeal only (perhaps) to those who have read The foam of the day, the book by Boris Vian on which the film is based. Here, I read it. Because if not, Gondry and so beautiful, but also to fans of the director this movie would seem complicated, too over the top to be understood in just two hours: the 'imaginary Vian is so detailed and rich in details and surreal details expanded polystyrene foam that probably only Gondry could make a movie, and in fact does so in its own way but keeping the letter of the most bizarre creations of the author. Suffice it to say that the book was written in 46, but we understand that you are in the hands of the pages unusual expanded polystyrene foam in the first ten rows:
Colin put his comb and, armed wire cutters, cut obliquely at the corners of his eyes dull, so as to make her look mysterious. He was forced to do it often, because it grew back quickly.
Gondry chooses to put literal expanded polystyrene foam images in the book, having a great time, maybe too much in fact one of the first things expanded polystyrene foam it does is to cut your eyelids expanded polystyrene foam Romain Duris, after having drilled the floor of his shower to get off the water. In general, the use of cinematic techniques unrealistic it pairs well with the text of Vian, of which there is never said if set in a future more or less distant or in a realm of fairy tales (in fact I would like to consider the story like a fairy tale despite the absence of a happy ending because it contains expanded polystyrene foam all the elements), which allows Gondry maximum freedom in setting and in the context of vision.
So even the bizarre text descriptions are shaped more or less literally on the screen, and although the film appears confusing and tiring - visual special effects, director and specials touch of magic in Eternal Sunshine Of The Spotless Mind, say, are all weigh too much and the plot that is not already the most cheerful - some images are a feast for the eyes.
The costumes are unfortunately easily expendable despite the director's freedom, as Vian constantly makes use of materials and details imaginary too exasperated to include them in the film:
Colin slipped his feet into a pair of leather sandals bat and wore an elegant red dress from home, corduroy pants very deep teal satin jacket and woolen hazel.
Not having constraints of time and place, for the costumes (Florence Fontaine, former costume designer for The Art of the dream) Gondry choose to ignore some descriptive parts in favor of an imaginary lighter and less tied to the text, giving the film a timeless character expanded polystyrene foam costumes in which real live together with elements of daily without weighing expanded polystyrene foam it down further. There is a taste a bit 'retro in the choice of fabrics, colors and shapes, very clean and linear, recalling the 60s albeit revisited in contemporary terms.
[Alise] was dressed strangely enough, with a white sweater and a yellow skirt. He had white shoes and yellow, and hockey skates. He had smoked and silk stockings over white socks, folded on shoes fatigued by the effort to become high and laced with white cotton strings that ran three times around the ankle. Alise entailed also a silk scarf in a bright green [...]
On average, the girls were presentable. One of them wore a garment of woolen almond green with large golden ceramic buttons, and on the back, a rack with forms a little 'special.
More philological however, expanded polystyrene foam is the surrender of the wedding scene - not just Colin literally nailing the tie, but also clothes for Chloe, Isis and Alise coincide with the written description, socks purposes as incense smoke, the same color of his skin blonde, and high heels or leather bianc, and there was still over her white dress, lying around, and there were also two dresses clear water of Isis and Alise, two layers of muslin that wrapped around the body, and a big tulle veil that departed from his shoulders, leaving his head completely free (although I understand the convenience of the scene to remove the veil of tulle).
Although the ring-shaped nausea Alise makes a brief appearance, but in general the rich descriptions of the clothes, fabrics and intricate decorations of Vian are not found in the image, which is a bit 'a shame having to do with a text so embellished details. Even ignoring the text, however, is very well known Gondry's skill in making so literal allegory of the story, the great and rich world of Colin shrinks while dying of the disease Chloe absorbs light of her.