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Midnight in Paris:

Gil Pender (Owen Wilson) is a reluctant Hollywood screenwriter who would much rather be a novelist. He holds a great love for the past, specifically the 1920s. While on a trip to Paris with his fiancee Inez (Rachel McAdams) and her parents (Kurt Fuller, Mimi Kennedy), Gil is transported to the 1920s every day at midnight, via an old car from that era that arrives to pick him up.

He is soon rubbing shoulders with the very people he most admired from that time. He meets F. Scott (Tom Hiddleston) and Zelda Fitzgerald (Allison Pill), who introduce him to Ernest Hemingway (Corey Stoll), who in turn offers to show Gil's novel to Gertrude Stein (Kathy Bates). While at Stein's home, Gil meets Adriana (Marion Cotillard), a young woman who has, in Gil's words, "taken art groupie to a whole new level." Adriana is currently dating Pablo Picasso (Marcial Di Fonzo Bo), but then leaves him for Hemingway, whom she then leaves because she's in love with Gil, who is engaged to Inez, but in love with Adriana.

Did you get all that? Good. Moving on...

Meanwhile, back in the 2010s, Inez is being told by her parents that the only good thing about Gil is the money he makes as a Hollywood writer. What good is he then, they reason, if he gives that up to be a novelist? Enter Paul (Michael Sheen), one of those classic pedantic Woody Allen characters that Alan Alda could have played if this film starred Allen and Diane Keaton as the lead couple.

Paul (an old crush of Inez's, as it turns out) is also in a mismatched couple with his somewhat dim wife Carol (Nina Arianda), (whom he seems to pay little attention to once they run into Inez at a restaurant in Paris). To give you an idea of Paul's pretentiousness, he actually attempts to correct a tour guide (Carla Brunei), and is considered an "expert" in just about any area you can mention.

Back in the 1920s each night, Gil continues to be captivated by Adriana. In one particularly entertaining scene, he talks with three surrealists: painter Salvador Dali (Adrien Brody), photographer Man Ray (Tom Cordier), and filmmaker Luis Bunuel (Adrien de Van). He comes clean to them about his sliding through time each night, and about being involved with a woman in each era. None of them find it at all odd, of course, because they are surrealists.

During all of this, even though Gil is too distracted by Adriana and his time traveling to notice, Inez is sleeping with Paul.

To further complicate matters, Adriana is, as it turns out, just as nostalgic as Gil; however, her love is for the 1890s-1900s. They eventually visit that era together, where Adriana decides to stay and live out her dream of being a costume designer. Gil realizes that one will always feel nostalgic for something they perceive as a better time, no matter what era they currently live in. He knows he will be better off returning to the 2010s, moving to Paris, and giving being a novelist a real shot. To do this, of course, he must leave Adriana behind in her preferred era.

As you may have guessed, in true Woody Allen film fashion, no one leaves with the one they came in with... other than maybe Inez's parents.

The header/main graphic:

Captures and stills from the film were gleaned from Google images, as was the film strip vector.
Lace texture: "Big Masks" brush from Obsessed

Text in the background is a quote from the film (said by Paul), written in "Carpenter" font.

"Nostalgia is denial - denial of the painful present... the name for this denial is golden age thinking - the erroneous notion that a different time period is better than the one one's living in - it's a flaw in the romantic imagination of those people who find it difficult to cope with the present."