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2 Days in New York
Produced by Julie Delpy, Scott Franklin, Christophe Mazodier, Ulf Israel, Jean-Jacques Neira, and Hubert Toint
Screenplay by Julie Delpy and Alexia Landeau Story by Julie Delpy, Alexia Landeau, and Alexandre Nahon
Editing: Julie Brenta and Isabelle Devinck
Music: Julie Delpy
Release Date: 28 March 2012
Aspect Ratio: 1.85 : 1
Color: Color
Julie Delpy follows up her maddeningly frantic culture clash rom-com 2 Days in Paris (2007) with the infinitely more assured and funny sequel 2 Days in New York. The plot and themes of this film are similar to its predecessor. Delpy’s Marion, now broken up from the insufferable neurotic Adam Goldberg played in the first film, lives with her new boyfriend Mingus (Chris Rock), who is far more even-tempered and less self-involved than Marion’s previous lovers. They have a cozy homelife, co-parenting their two kids from previous relationships. But when Marion's extended family arrives from France for a brief vacation, the disastrous cultural misunderstandings and dysfunctional family mayhem of the first movie begins anew. This time, though, the farcical over-the-top comedy is both more palatable and more insightful. Delpy’s directorial style is far less frenetic and exasperating, and Rock grounds the picture with all the fortitude his last name implies. This is, in fact, the best acting performance the successful stand-up has yet given in a movie. And the fact that Rock is black—rather than Jewish as Goldberg’s character was—makes the film’s racial and ethnic tension far more direct, insightful, and successful.
That Marion and Mingus are parents of young kids ups the stakes of their relationship, makes the inappropriate antics of the invading French family members far more potent, and sharpens the film’s look at interfamily dynamics. Everything about 2 Days in New York trumps 2 Days in Paris, including its semi-autobiographical nature. We can sympathize with Delpy’s character so much more in this movie because we don’t feel like she deserves to be punished for her irresponsible behavior. We can imagine getting ourselves stuck in similar situations, which is the key to making farce work. Late in the picture, there is even a terrific dip into meta-absurdity that plays perfectly. The film also works as a romantic comedy. Perhaps fans of the first movie will be disappointed that Delpy indulges in more traditional rom-com trappings with her second feature, but I found them a welcome addition.