THE SOLO TRAVELLER
Independence, passion, and lifelong memories.
Field Notes
Ruby Boukabou photographed by Olivia Rutherford.
Book review: ‘The Movie Lover’s Guide to Paris’ by Ruby Boukabou
Published by White Owl, an imprint of Pen & Sword Books Ltd. Review by Geoffrey Williams.
There is no shortage of books about Paris, and even fewer that attempt to see the city through a single, defining lens. ‘The Movie Lover’s Guide to Paris’ sets itself a clear task: to treat the city not just as a destination, but as a living film set – layered, referential, and constantly reinterpreted.
What becomes immediately apparent is the author’s depth of knowledge and familiarity. Boukabou is not simply passing through; she writes as someone who has lived with the city and its cinema over time. That dual perspective – her familiarity with the city and a deep engagement with its cinema – shapes the book’s structure and tone.
‘The Movie Lover’s Guide to Paris’ is part history, part catalogue, and part practical guide, moving from an overview of French cinema to curated film lists, and then into self-guided walking itineraries, cafés, cinemas, and opportunities to connect with film-focused experiences across the city. The substantial opening section traces the development of French cinema from the Lumière brothers in 1895 through the New Wave and into the present day, positioning Paris not simply as a backdrop, but as a central force in cinematic evolution.
The core of the book lies in its film curation. The ambitious inclusion of 200 films – evenly split between French and English-language works – is handled with flair and personality. The selections – concise and descriptive rather than analytical – range from canonical titles to less familiar inclusions, offering both a foundation and a pathway for deeper exploration.
Where the book becomes most effective is in its transition from page to place. The practical sections – itineraries, budget considerations, and location-based suggestions – begin to connect cinema with the lived experience of the city. Walking tours tied to specific films, or to broader cinematic themes, extend the concept in a way that feels both natural and considered. This is where the book moves beyond reference and into something more immersive.
Boukabou also brings a distinct visual sensibility to the work. The photographs avoid postcard familiarity, focusing instead on texture, light, and detail – architectural fragments, cobblestone streets, and quieter moments across the city’s bridges, gardens, cafés and interiors. They sit comfortably alongside the text, reinforcing the idea of Paris not as spectacle, but as a place defined by atmosphere and observation.
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The terrace at Restaurant Paul from Woody Allen’s ‘Midnight in Paris’ (2011). © Photographer: Ruby Boukabou.
For solo travellers, the book lends itself perfectly to independent exploration, guided less by checklist tourism and more by scenes, moods and story rather than fixed landmarks. In this way, ‘The Movie Lover’s Guide to Paris’ works as a reliable and insightful reference and companion, offering a fascinating way of experiencing the city.
