If you are looking for a nice cinematic diversion this weekend, you could do worse than Paris Can Wait. This is the simple tale of Anne (Diane Lane), whose high flying producer husband (Alec Baldwin) has left her in the company of his French colleague Jacque (Arnaud Viard) to drive across France from Cannes to Paris. It’s a light and breezy film, the biggest conflict being Jacque’s inability to take the direct route.

Director Eleanor Coppola has filled her film with stunning shots of the picturesque French countryside. There is also a healthy dose of food porn as our intrepid travellers eat their way though some of France’s finest restaurants. These images attempt to show the world through Anne’s eyes, as she carries her tiny digital camera everywhere. Unfortunately, Anne doesn’t have a great eye, and the images mostly look like generic stock photography that clashes with the film’s pretty, if uninspiring, cinematography. It is a largely superficial film, designed as an easily digestible ninety minutes. And it plays this angle well. Paris Can Wait is a delightful and charming film.

That isn’t to say it’s all fluff. Every so often, Coppola has found details that allow for a slightly more involved viewing experience. There is a subtle critique of the film industry and its effect of personal relationships that is played out by Anne and her husband running though the film. This is no doubt informed by Coppola’s own experience as part of a family of film royalty. This lends a hint of authenticity to an otherwise carefully manicured film. It’s not quite substantial enough to make Paris Can Wait into serious fare, but it is a nice touch. It is rare that a film clearly designed as something appealing and inoffensive ventures into real territory. While the attempt is appreciated, Coppola doesn’t push it quite far enough. As a result, Paris Can Wait remains a nice, if largely forgettable, film.