Square Montholon is the largest green space in the 9th arrondissement, measuring 4571 square meters. The space was originally the garden of the estate of Charles-Henri Sanson, an executioner of France, who came from a famous family of executioners operating in Paris from 1688 to 1847. It was transformed into Square Montholon in 1863 and now hosts different bird species and native plants, and emphasizes the importance of wildlife protection. There are two oriental plane trees that are each over a century old and are now over 30 meters tall. The area itself is bordered with entrances near each corner, and Louis-Philippe-style fencing, a Victorian-style of picket fencing used frequently in Parisian gardens.

While I had done research on Square Montholon before arriving in Paris, it was nothing like I expected it to be. The square was small and intimate but had so much packed into every nook and cranny. As I turned and took in my surroundings, I saw something I didn’t read about or see in the research I did. Towards the center of Square Montholon is a statue, Les Catherinettes by Julien Lovieux, created in 1908, depicting four young women celebrating Saint Catherine’s Day. The holiday, occurring on November 25th, is a day for unmarried women of the age of 25 and above (otherwise known as ‘Catherinettes’) to pray to Saint Catherine to find a husband. While the holiday started in the 10th century, French milliners popularized it in the early 1900s as a way to display extravagant hats, customarily using green and yellow to symbolize wisdom, faith, and success. The tradition has developed and changed over time, but is still celebrated today with over the top, work of art, hats.

As I looked at the young women before me, I couldn’t help but think about all of the working girls who may have walked through the spot I was standing in. The women in the statue looked so joyful, linking arms and practically falling over each other while walking. Coming to Paris with my own group of girls, I couldn’t help but feel like I knew the ones made of stone. I love that in a city with so much history and so many lives lived, I can find common ground with people who walked the grounds 100 years before me. It felt ironic that what was previously the garden of an executioner had become a beautiful community space—an incredibly bright future for a place with such an interesting and complicated past.

The square is a peaceful escape from the rest of the city, and even with its small size it is not cramped, or infected with the noise right outside its gates. The sounds from the streets surrounding the park were drowned out by rustling trees and birds chirping, in order to create the quiet space I sat within. The number of colorful birds that I saw above, flying from branch to branch, felt disproportionate to the amount of land available to them. Despite the fact that there was nothing keeping them there, they all seemed settled within the square. I found so much peace within the square, and couldn’t help but be taken by the community I felt sitting in such a beautiful public space. I wondered how many girls sat in that square thinking the same, and listening to the birds.

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Located in the seventh arrondissement of Paris, the Musée d’Orsay houses the world’s largest collection of impressionist and post-impressionist works. Being both an artist and art lover, this was one of my most anticipated stops during my time in France. However, I was wary that I would find the museum slightly lacking after spending most of my trip walking through a large part of Paris and appreciating the breathtaking aesthetics of the Louvre. Between the stunning architecture and sculpture slipped into the everyday cityscape, it is no surprise that it was once considered an art capital of the world. I expected that by the time I got to the Musée d’Orsay, I would have seen every combination possible. Upon entering the Musée d’Orsay, it appeared I was correct. Nothing quite special stood out to me, and as I walked through each gallery I slowly became less interested in each passing work.

After a while the identifying marks of each impressionist began to blend together, surrounding me in a blurry swirl of color. At this point, I had made the decision to leave and was making my way towards the exit. However, as I was about to pass the last gallery before the doors, I felt a force beckon me to come inside; as if one last look was needed before saying goodbye to the museum as a whole. Although I was already tired, I made the last minute decision to turn around and enter. I walked into a room painted in rusty maroon. By doing a quick glance around, I took in the last few paintings but something–or shall I say someone–caught my eye. Sitting on its own wall and staring at me in a state of shock and despair was none other than The Desperate Man by Gustave Cobert. Painted with a high contrasting color palette of dark browns and bright whites, Cobert depicts himself with his hands tangled into his hair as he pierces his viewer’s gaze with an expression of pure distress. This romantic style painting was made in 1843 in response to finding out about his partner’s infidelity. I was drawn to it, and felt a deep connection to the work. This painting brought me close to tears, and I felt a strange sense of emotional relief and beauty overcome me. The Desperate Man has been a work of art that I have studied and been a big admirer of for years. So much so, that a few months prior to going on the trip I did a self portrait loosely based off of the painting. I never thought that I would have the opportunity to study the piece as closely as I did at that moment. Safe to say, I was able to find a bench and take everything in–one delicate detail at a time. 

For the rest of the time I was in Paris–and even now that I am back home–I was mindful to absorb everything slowly. As tempting as it can be to rush through artwork, this experience goes to show you just never know what you might find. Perhaps more of the same, perhaps a hidden gem. And who knows? You might just be met face to face with a desperate man who has been waiting for you since you entered the room.

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Located in the 20th arrondissement on the outskirts of Paris, the suburb of Saint Denis is not part of the list of places that tourists usually visit. The Saint Denis Basilica, however, is a historic gem that is well worth a long metro ride. The basilica stands on the spot where Saint Denis, the first bishop of Paris, was buried, martyred around 250 AD. Various churches were built there over time and the Benedictine abbey became very influential, so much so that King Pepin ( the short) was buried at the abbey in 754. From then until the French Revolution of 1789, almost all kings and queens (except three) were buried at Saint-Denis. That's over a thousand years of royalty in one place!

The turning point for Saint-Denis occurred in the 12th century with Abbot Suger. Suger was very close politically with King Louis VI, with whom he attended the school of Saint-Denis in his youth. With this political support, Suger had plenty of money and set about transforming the church into a masterpiece of Gothic architecture. In fact, Saint-Denis is considered the first Gothic church ever built.

Sparing no expense, Suger developed to perfection the pointed arch vault system, the addition of clerestory windows, flying buttresses to counteract the thrust of a much taller structure and the famous stained glass rose window. The effect was to let an incredible amount of light into the basilica, where previously the gloomy darkness of Roman architecture had reigned. Abbot Suger was a priest, and he maintained that this light was a symbol of the light of Christ. Walking under the Last Judgment (darkness) engraved on the tympanum above the front door, you enter the glorious light of the nave, fabulously colored by all the stained glass windows reflecting throughout. Suger's brilliant design highlighted the lighting that was so much a part of the Gothic style.

Everything inside the church is artistic. The choir stalls where the monks prayed were finely carved in wood by master carpenters. The pipe organ was the very first of its kind, built at a time in French history when there was no great French music composed or great organists to play the music. It was designed by Cavaille-Coll and is still played every Sunday. It is interesting to note that the second organ he designed is at Notre-Dame de l'Île de Cité.

But the most amazing part of the church interior are the tombs. Around the sanctuary or transept of the church are dozens of recumbent figures of kings and queens from the last 1000 years of French history. These include a life-size Marie Antoinette side by side with King Louis XVI, resplendent in white marble. and many other famous royals. Other treasures of the church include historical relics of saints of the past, a copy of the royal battle standard called the Oriflamme, and a huge underground crypt where the bones of kings and queens are buried in an ossuary royal. The crypt alone is worth a visit.

So, if you only have one day in Paris to soak up 15 centuries of royal tradition in the most historic church in Paris, hop on metro number 13, go to the penultimate stop and contemplate the dignity, sovereignty and eternal light of the Saint-Denis Basilica

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Like its design, Saint-Paul-Saint-Louis history is also somewhat sensational and bold. The present church building was consecrated in 1641, and at that time was known only as “Église Saint Louis”. The structure was one of the first churches in Paris built in the Baroque style, signaling, in its construction, a dramatic and rather sharp break from the Gothic aesthetic approach which previously dominated French ecclesiastical architecture. Its founding was supported and monitored closely by the kings of the early Bourbon monarchy. In a dramatic show of piety, both Louis XIII and Louis XIV would even choose to have their hearts removed and interred there following their respective deaths. Thus, from its beginning, Saint-Paul-Saint-Louis represented the emergence of a new and closer alignment of the French monarchy and the Catholic Church.

This new dynamic can be seen in the church’s first inhabitants and its primary pastors, the Jesuits, who were one of the period’s most influential religious actors and who came to have close ties with the Bourbon kings. A Catholic mendicant religious society, the Jesuit Order was a critical part of the Counter-Reformation, a major cultural movement initiated by the Catholic Church aimed, principally, at reasserting Catholic doctrinal orthodoxy and enacting strident evangelical action within Europe after the fallout of the Protestant Reformation. For the Jesuits during the Counter-Reformation, the Baroque’s highly ornate nature and its allusions to Roman classicism made it useful as a simple, powerful aesthetic tool for communicating the truth and luminosity of the Catholic faith and the primacy of the See of Rome. Saint-Paul-Saint-Louis’ highly decorative Baroque plan - designed by two of the Order’s architects, Étienne Martellange and François Derand - exemplified precisely this novel, more evangelically-oriented approach to building, one in which the Jesuits frequently engaged.

The construction of such a church as Saint-Paul-Saint-Louis would have been impossible without the backing of the French monarchs. Partially expelled from France in 1594 during the French Wars of Religion, it was King Henry IV who worked to actively restore the Jesuit Order to full legal status and facilitate its expansion across France. Although this decision was likely motivated, more than anything, by political pragmatism on Henry’s part, it resulted, ultimately, in the cementing of a continued, persistent relationship between the Jesuit Order and the French kings that would last throughout the course of the Bourbon monarchy. Hence, for much of the period of the Ancien Regime, Saint-Paul-Saint-Louis was a lively hub of Jesuit activity in Paris, with some of the Order’s priests serving at the parish as direct confessors to the French kings.

By the end of the French Revolution, however, Saint-Paul-Saint-Louis’ fortunes drastically changed. The church’s monarchical associations - so crucial to its original inception - had made it a target for revolutionaries fueled by anti-clerical and anti-royalist vigor, who seized control of its operations and turned the building into a storehouse for items looted from other nearby religious and civic sites. This marked the end of the parish’s founding Baroque period: following the events of the Revolution, nearly all of the church’s original patrons and pastors had been either executed, scattered, or exiled, and the parish, with Paris and with France, was entering a new age. After Napoleon’s accession to the French imperial throne, the church would be rehabilitated, returned to the Diocese of Paris, and renamed as Église Saint-Paul-Saint-Louis, in recognition of another nearby church, Église Saint Paul, which was destroyed entirely during the Revolution.

In many respects, then, Église Saint-Paul-Saint-Louis testifies clearly to the profound story of the Baroque period in France, and the new relationships between temporal and spiritual powers that emerged from the Catholic Counter-Reformation. Consequently, not only is the convergence of the supernatural and the natural realms present symbolically in the church’s architecture, but so, too, can it be seen in its very history. This interplay of the natural and supernatural, indeed, has been critical in shaping also the broader history of France and its people. Église Saint-Paul-Saint-Louis, located in Paris’ central Marais district, stands, in many ways, at the heart of this drama as it has unfolded.

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The Musée du Quai Branly opened on June 23, 2006. It features non-Western art and artifacts from Africa, Asia, Oceania, and the Americas, ranging from the Neolithic period to the twentieth-century. Like many other educational institutions, the Museum was founded to enhance the understanding of cultural arts and civilizations. It’s known for rehousing artifacts from other museums such as the Musée de l’Homme and Musée National des Arts d’Afrique et d’Océanie. The late President of France, Jacques Chirac, was a strong advocate for promoting and preserving non-Western arts. Chirac’s inauguration speech, just before the opening day, is why his name will forever remain associated with the Museum.

The Musée du Quai Branly is considered a World Culture Museum as its design deviates from traditional ethnographic museum styles. The goal is to create a space that celebrates the places and cultures where the objects on display come from. The Museum's exhibits take visitors on a journey through different cultures, giving them a chance to learn about and appreciate the art and traditions of various parts of the world. Unlike traditional Western-style museums, the Musée du Quai Branly has a unique design that creates an immersive experience for visitors. The dimly lit winding paths and dramatic displays both inside and outside the Museum make visitors feel as if they are traveling to a distant land.

The Museum, designed by French architect Jean Nouvel, is a remarkable complex. The 220-meter permanent gallery, temporary exhibition halls, auditorium, lecture theaters, library, cinema, conservation laboratories, and interactive research facilities cover a distance of over 29,450 square meters. The building is elevated on stilts, allowing a beautiful garden to grow both around and underneath it. This garden, created by Gilles Clément, is home to plenty of green plants, different kinds of trees, and beautiful botanicals. The garden features various trails, hills, paths, and fountains perfect for hiking, walking, and meditation. With over 150 trees and 30 different plant species, the garden offers a diverse range of flora and fauna.

There can be consequences when showcasing cultural works and identities in public spaces. The Musée du quai Branly is no stranger to controversy, given concerns about the ownership of some of the artworks, the preservation of the collections, and the purpose of the space. Some believe the Museum’s aesthetic display of cultural property may promote Western hierarchies by creating an imperial gaze toward the "other." Artifacts looted from conquered civilizations often end up in museums if they possess monetary value, show symbols of power, or captivate viewers' interests by depicting them as primitive, exotic, tropical, or oriental objects. Calls for the repatriation of art have recently gained traction, particularly in European countries with a history of colonial conquest.

The late President Jacques Chirac's vision of creating new World Culture Museums aimed to transform the outdated and problematic missions of ethnographic museums. The goal was to establish a new institution dedicated to promoting and teaching visitors about diverse cultural identities while upholding values of respect. The Musée du Quai Branly was established with this mission in mind, dedicated to preserving and showcasing art, diversity, and cultural identity. Whether or not they have achieved this goal, the Museum remains committed to its mission.

From its magnificent gardens to its many educational facilities, the Musée du Quai Branly is a spectacular museum that offers a delightful journey into the past and present. It has an impressive collection of exhibits that let visitors explore different parts of the world, taking them on a fascinating journey across the seas and through the history of diverse civilizations, all without ever leaving the beautiful city of Paris. Whether you are there to learn, explore, or simply relax, the Musée du Quai Branly never fails to amaze its visitors, beckoning them to cross a bridge into a world of wonder, diversity, and endless possibilities.

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Situé dans une ancienne abbaye, près de la célèbre Basilique de Saint-Denis, où reposent de nombreux monarques français, se trouve cette école. Ce qui la rend unique, c'est qu'il s'agit d'une école exclusivement pour filles. Pour éviter les conclusions hâtives à propos de son caractère religieux pour ceux qui ne s'intéressent pas à la religion, il convient de préciser qu'il s'agit en réalité d'une école laïque, conforme aux principes fondamentaux du système éducatif français. Cette école fondée en 1805 par Napoléon Bonaparte, connu sous le nom de Napoléon Ier, a été initialement créée pour les filles et petites-filles de ceux qui ont reçu la Légion d'Honneur, en particulier les soldats morts au combat, puis elle s'est étendue également aux civils.

Napoléon a établi la Légion d'honneur pour célébrer les individus ayant démontré un mérite exceptionnel à travers leurs actions, indépendamment de tout privilège hérité. Ce principe incarne l'esprit révolutionnaire de la Révolution française, qui a mis fin à l'aristocratie et a mis l'accent sur la reconnaissance des réalisations personnelles plutôt que des droits de naissance. En honorant le mérite au-dessus du statut social ou professionnel, la Légion d'honneur crée une communauté inclusive où hommes et femmes sont traités sur un pied d'égalité, unis par leurs contributions exceptionnelles.

La Légion d'honneur a évolué pour reconnaître les individus ayant contribué à la France dans divers domaines autres que le service militaire, y compris la culture, la science, les arts et le travail humanitaire. L'ordre est divisé en cinq classes : Chevalier, Officier, Commandeur, Grand Officier et Grand-Croix. Le président de la République française confère l'appartenance sur recommandation du gouvernement. Parmi les personnes célèbres qui ont reçu la Légion d'honneur, on trouve Simone Veil, Charlie Chaplin et J.K Rowling, l'auteure de Harry Potter.

Cette tradition reste jusqu’à nos jours, formant un pilier des critères d'admission de l'institution. Cependant, au-delà de sa fonction commémorative, l'école a soutenu l'impératif de faire progresser la situation des femmes par l'éducation, un héritage qui remonte au XVIIe siècle avec les salons littéraires influents de l'Hôtel de Rambouillet animés par Catherine de Vivonne. En établissant cette école exclusivement féminine, Napoléon Bonaparte a reconnu le rôle critique de l'éducation des femmes et de leurs impacts sociétaux dans la formation de l'avenir de la France.

En dehors de la descendance d'un individu ayant reçu la Légion d'Honneur, il existe d'autres critères précis pour entrer dans cette école ; ils prennent en compte la motivation des élèves, leur parcours académique et, surtout, ils offrent une chance équitable aux élèves issues de familles à faible revenu. Un autre aspect crucial de leurs critères est que même les filles de récipiendaires étrangers de la Légion d'Honneur peuvent avoir la possibilité de s'inscrire dans cette école, ce qui reflète l'inclusion et la diversité de cette institution.

Le but de cette école n'est pas seulement d’honorer les descendants des récipiendaires de la Légion d'Honneur, mais aussi d'investir dans leur éducation en leur offrant des opportunités d'amélioration. Cette progression ne se fait par simple d’héritage, mais à travers un programme éducatif strict et discipliné. Les élèves portent un uniforme, elles ont des heures de coucher et de réveil définies, ainsi qu'un emploi du temps précis pour les repas. Être pensionnaire implique que les étudiantes et leurs parents doivent accepter d'être séparés toute la semaine, ce qui nécessite des sacrifices. L'école est dirigée par des femmes professionnelles, démontrant ainsi son engagement à investir dans ces jeunes femmes en tant que forces incontournables de l'avenir.

L’objectif ultime de cette école est de préparer les élèves à obtenir leur diplôme d'études secondaires, et pour obtenir ce diplôme en France, il faut réussir le baccalauréat, qui est un examen national, historiquement mis en place par... devinez encore une fois, qui ? Napoléon Bonaparte ! Cet examen est obligatoire lors de la dernière année de lycée ; il est complet et rigoureux. Le pourcentage de réussite national à cet examen en France est de 75 %. Je vous invite à nouveau à spéculer sur le succès de cette pension. Vous avez peut-être deviné juste ; il est 100 % de 2019 à 2023 ; ainsi, toutes les 500 élèves que cette école accueille peuvent réussir cet examen, ce qui leur permet de s'inscrire dans des universités très renommées du pays. L'une des diplômées modernes et bien connues de MELH est Sophie Adenot, qui a progressé dans le domaine de l'aérospatiale pour devenir lieutenant-colonel ; c'est une réussite très significative vue que les hommes dominent ce domaine. Elle a récemment été choisie pour rejoindre le corps européen des astronautes en 2022.

Alors que notre voyage touche à sa fin dans cette merveilleuse institution, nous nous rendons compte que nous sommes témoins des échos de son histoire, et les succès remarquables de ses diplômées. Dans un contexte où les possibilités pour les femmes ne cessent de croître, La Maison d'Éducation de la Légion d'Honneur se positionne comme un symbole de l'émancipation féminine, du patrimoine et de l'excellence académique dans la banlieue nord de Paris et la France tout entière.

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Invader is, as he defines himself, “a UFA, an Unidentified Free Artist.” He is a French artist, born in 1969, whose identity is unknown (besides a brief name reveal in the early 2010’s), working under the pseudonym Invader. His name, initiative, and motives for his first and main art project lie in the 1978 videogame that has the same name, “Space Invaders.” The game consists of pixelated shoot ‘em up style gameplay, where the player controls a small spaceship and blasts at little space aliens overhead. The artist recalls the time when arcades became obsolete, and these little invaders were trapped for an eternity inside these arcade machines. This is where the idea of an invasion was born, as Invader decided to release these Space Invaders into the real world! More so than for nostalgia’s sake, the Invasion was sparked as a rebellion and liberation move to challenge the traditional means and functions of displaying art in museums or institutions.

Invader started his journey with the Invasion initiative in the mid-90’s in Paris, and the number of invaders within his arsenal continued to grow from there. The main material he utilizes in these works are tiles, as this material creates a pixelization effect that mimics the original subject matter. The artist must do this operation discreetly, as he would install these mosaics on buildings and infrastructure that he didn’t own. He states that he adorns the multitude of cities he works in with about 20 to 50 pieces overall, yet this is FAR from the case when it comes to Paris. Back in 2011, he celebrated his 1,000th Invader in a gallery, the Galerie le Feuvre, by installing works and photographs of every Invader he had up in Paris!

The artist known as Invader currently has 1,500 Space Invaders in Paris, but this number pales in comparison to the 4,169 he has across 83 territories of the world! This, combined with his other notable artistic achievements, proves the magnitude and grandiosity of his artistry. Another one of his Invasion-related feats include the send-off of one of his Space Invaders back into space! His initiative Space2ISS consisted of a mosaic, called Space2, attached to the International Space Station. This initiative was actualized after the ISS noticed that Invader had previously released a Space Invader into space (utilizing a weather balloon and sheer ingenuity)! Space2 currently occupies a space on the outside of the ISS, and this journey has led to the installation of several of his Invader projects at NASA and the European Space Agency HQs around the world.

Some of Invader’s other larger feats include the creation of the Rubikcubism movement. Started in 2005, he used the Rubik’s Cube toy as the material while utilizing the colors on the blocks in strategic ways to create a larger, cohesive picture. These images portray a myriad of subject matter, such as his “Rubik’s Masterpieces,” “Rubik Bad Men,” and “Rubik’s Low Fidelity” series. He even created a fine arts school in the early 21st century dedicated to teaching his unique art style in Paris. Numerous galleries around the world have reached out to Invader to showcase his unique art style to the masses.

Invader has changed the street art game in many places around the world; his influence is especially evident in Paris. He continues to inspire many other mosaic artists, like the Smurf-portraying artist IPDO, and other artists who utilize mosaics or pixelization, or that even attempt to imitate Invader’s art style! Nevertheless, all of this and more shows the cultural and world-wide significance of this artist and his impact. In his 55 years of life, Invader has racked up an impressive number of accomplishments, but as Invader has acknowledged himself, the “game is not over!”

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The bohemian lifestyle enjoyed by creative people makes the neighborhood feel very unique compared to other places around Paris. Montmartre has a very lively vibe where creative types congregate, including artists who set up easels on Place du Tertre–one of them can draw your portrait! Mimes and living statues entertain crowds of tourists who gather on the steps of Sacré Coeur to enjoy the fabulous view of Paris. Just like all of Paris, there are plenty of cafes and restaurants at every corner.

The history of this village goes back to when St. Denis, the first bishop of Paris, was beheaded on top of the mountain in 250 AD, which was then given its name “martyr’s hill” because it was believed that St. Denis had been executed because of his faith. On top of the hill lies Sacré Coeur Basilica, a church constructed as a result of the Paris Commune of 1871. Amidst the bloodshed of the Paris Commune, Sacré Coeur was created as a way to appease Parisians.

Since it's on top of a hill, one way to get to Sacré Coeur is to take the Rue Foyatier steps. These steps are best known for being very expansive. There are 222 steps, the stairway is about 100 meters long. The steps were created in 1867 and were named after French sculptor Denis Foyatier. Another unusual feature of Montmartre is the windmills. Windmills have been prevalent in Montmartre for centuries where they were used to grind wheat and press the grapes grown in the local vineyard. They gave the village a rustic feel and a sense of otherness on the boundary between city, country, land and the sky. Of the thirty windmills that once turned in Montmartre, only a few remain. The most iconic of them all is that of the Moulin Rouge, located at the nightclub district in Montmartre, which had its sails recently blown off by a harsh windstorm !

The Rue Foyatier steps are so famous that they are featured in Hollywood films such as John Wick: Chapter 4. One of the infamous scenes in the film is when John Wick is kicked down the stairs by one of the bad guys. The scene goes on for a long time, almost satirizing just how long the Rue Foyatier steps are. Another famous movie that was shot in Montmartre was Amélie (2001). If you’re a fan of the movie, you would want to visit two sites featured in the film– Café des Deux Moulins, where the title character works at, and Au Marché de la Butte, a grocery store. The movie is meant to be a whimsical depiction of Parisian life, so shooting in Montmartre, especially the café which has the nostalgic feel of Paris in the 1960s, adds to the charm of the movie. You will see posters of the movie Amélie hung on the walls and inside the building to let tourists know that this is where the film was shot.

The streets of Montmartre are fascinating because of how winding they are. It is one of the more historical places in Paris because historic preservation is central to the aesthetic of the city. The village maintains a medieval footprint with its cobble stone streets because it escaped the "Haussmannisation” of the city which opened up much of central Paris in the 19th century. Parisians in general do not appreciate when historical artifacts or places are modernized because they feel that it takes away from their beauty and authenticity. Historic preservation has helped Montmartre retain its original bohemian vibe. In Montmartre, visitors can experience its unique qualities since the whole place is artistically driven thanks in part to the city planners who strive to maintain Montmartre's unique features.

Montmartre has become one of the most famous attractions in all of Paris. There’s a lot to do and admire here. Its history, medieval feel and bohemian lifestyle is what makes this place special. So much so that it is featured in big movies like John Wick: Chapter 4 and Amélie. Its easy to understand why filmmakers, artist and tourist alike would be drawn to this unique part of Paris.

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