
New York, I Love You
Eleven vignettes, all homages to New York City life, are presented. I. Ben (Hayden Christensen), a pickpocket, is attracted to Molly (Rachel Bilson) at first sight, and gets into an interesting "pissing match" with Molly's married lover, New York University professor Garry (Andy Garcia). II. Mansuhkhbai (Irrfan Khan), an orthodox Jain diamond wholesaler, and Rifka (Natalie Portman), an orthodox Jewish diamond retailer who is getting married tomorrow, learn that they have more in common than just diamonds. III. David (Orlando Bloom), a musician and music editor for a video being directed by Abarra, is having problems meeting Abarra's demands while he slowly falls for Abarra's assistant, Camille (Christina Ricci), who he's never met, but has only talked to on the telephone solely about work. IV. A young man believes he's made a powerful connection to a stranger, a young woman, in the simple act of lighting her cigarette, and proceeds to convince her of the same and as such that there is a future for them from that point on, and not at some unspecified time down the road. V. A high school senior, who has been dumped by his girlfriend just before senior prom, is given a gift by his local pharmacist, Mr. Riccoli (James Caan), the senior not understanding the full implication of the gift until the full process of prom night is over. VI. Each on their way to their first official date together after what started out solely as a one night stand, Gus (Bradley Cooper) and Lydia (Drea de Matteo) each contemplate not keeping the date. VII. Isabelle (Julie Christie), a retired opera diva, has returned to a hotel where she's stayed many times and where she has strong memories of encounters with a young bellhop. VIII. Brown-skinned Dante (Carlos Acosta) and white-skinned young adolescent Teya (Taylor Geare) spend time together in a park, most outsiders see a manny and his charge, not realizing the true nature of Dante and Teya's relationship. IX. In questioning why one of her elderly Eastern European customers chose her as the wanted subject for his next painting, a young Chinese herbalist may be inspired to create some art of her own. X. Anna (Robin Wright), who meets Alex (Chris Cooper) by chance on the street each going about their individual business, asks him a question, she having an ulterior motive while expecting a totally different reaction from him contrary to her motive... maybe. XI. Abe (Eli Wallach) and Mitzie (Cloris Leachman) are spending their 63rd Wedding Anniversary together, not always harmoniously. Interspersed between these eleven vignettes are even shorter ones, often tying together to another or to one of the eleven primary ones in some manner.
The film underperformed commercially against its modest budget of $14.7M, earning $14.6M globally (-1% loss).
Plot Structure
Story beats plotted across runtime


Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
New York, I Love You (2008) exhibits carefully calibrated narrative architecture, characteristic of Yvan Attal's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 1 hour and 43 minutes. With an Arcplot score of 7.5, the film showcases strong structural fundamentals.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Videographer Anton Yelchin films street life in New York, establishing the observational lens through which we'll experience the city. The ordinary rhythm of NYC - people passing, strangers disconnected, the urban status quo before love intervenes.. Notably, this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 12 minutes when First major emotional disruption - a vignette shows unexpected connection (possibly the prom girl segment or the wheelchair romance beginning), demonstrating that love disrupts plans and expectations. The anthology's exploration of love truly begins.. At 12% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 26 minutes marks the transition into Act II, occurring at 25% of the runtime. This demonstrates the protagonist's commitment to A segment features characters actively choosing to pursue connection despite obstacles - crossing the threshold from observation to participation in love. This marks the anthology's commitment to exploring love as active choice rather than passive occurrence., moving from reaction to action.
At 53 minutes, the Midpoint arrives at 51% of the runtime—precisely centered, creating perfect narrative symmetry. The analysis reveals that this crucial beat A segment featuring false victory or complication - perhaps a relationship that seems perfect but reveals complexity, or the Natalie Portman directed piece exploring darker romantic territory. The easy romance of the first half gives way to harder truths., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 78 minutes (76% through) represents the emotional nadir. Here, A segment showing love's loss or failure - possibly a relationship ending, a connection missed, or the revelation that a romance cannot be. The "whiff of death" - what dies is the illusion that love conquers all obstacles easily., demonstrates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 83 minutes initiates the final act resolution at 81% of the runtime. A character or segment reveals the synthesis: love isn't about perfect circumstances but about choosing connection despite imperfection. Perhaps the videographer stops filming and participates, or a final segment shows unexpected grace in an imperfect moment., demonstrating the transformation achieved throughout the journey.
Emotional Journey
New York, I Love You's emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs a 15-point narrative structure framework that maps key story moments. By mapping New York, I Love You against these established plot points, we can identify how Yvan Attal utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish New York, I Love You within the comedy genre.
Yvan Attal's Structural Approach
Among the 3 Yvan Attal films analyzed on Arcplot, the average structural score is 7.0, demonstrating varied approaches to story architecture. New York, I Love You represents one of the director's most structurally precise works. For comparative analysis, explore the complete Yvan Attal filmography.
Comparative Analysis
Additional comedy films include The Ministry of Ungentlemanly Warfare, The Bad Guys and Lake Placid. For more Yvan Attal analyses, see Le Brio, Happily Ever After.
Plot Points by Act
Act I
SetupStatus Quo
Videographer Anton Yelchin films street life in New York, establishing the observational lens through which we'll experience the city. The ordinary rhythm of NYC - people passing, strangers disconnected, the urban status quo before love intervenes.
Theme
Early dialogue establishes the theme: "Love is everywhere in this city" or through visual juxtaposition showing different types of people - young, old, diverse cultures - suggesting love transcends boundaries in New York.
Worldbuilding
Opening segments introduce the mosaic structure: the composer and singer, the hotel encounter, establishing that this is a city of many stories, many types of love, many neighborhoods. We learn the rules of this anthology world.
Disruption
First major emotional disruption - a vignette shows unexpected connection (possibly the prom girl segment or the wheelchair romance beginning), demonstrating that love disrupts plans and expectations. The anthology's exploration of love truly begins.
Resistance
Multiple vignettes explore different approaches to love - hesitation, pursuit, resistance. Characters debate whether to act on attraction, whether relationships can work across differences. The city itself becomes the guide, showing various paths love can take.
Act II
ConfrontationFirst Threshold
A segment features characters actively choosing to pursue connection despite obstacles - crossing the threshold from observation to participation in love. This marks the anthology's commitment to exploring love as active choice rather than passive occurrence.
Mirror World
Introduction of the Eli Wallach and Cloris Leachman elderly couple segment - the mirror that reflects what lasting love looks like, contrasting with the fleeting encounters shown earlier. They embody the thematic truth the film is building toward.
Premise
The promise of the premise - the full exploration of love in all its forms: comic, tragic, sexual, romantic, fleeting, enduring. Segments show the variety: the writer and his muse, forbidden attractions, cultural clashes. This is what we came for - love in NYC.
Midpoint
A segment featuring false victory or complication - perhaps a relationship that seems perfect but reveals complexity, or the Natalie Portman directed piece exploring darker romantic territory. The easy romance of the first half gives way to harder truths.
Opposition
Segments grow more complex and bittersweet: missed connections, timing that doesn't work, love constrained by circumstances. The opposition isn't a villain but reality itself - age, culture, timing, fear. Love faces its obstacles.
Collapse
A segment showing love's loss or failure - possibly a relationship ending, a connection missed, or the revelation that a romance cannot be. The "whiff of death" - what dies is the illusion that love conquers all obstacles easily.
Crisis
Quieter, more reflective segments. Characters sit with disappointment or loss. The pacing slows. We process the darkness before the resolution, contemplating whether connection is possible in this vast, isolating city.
Act III
ResolutionSecond Threshold
A character or segment reveals the synthesis: love isn't about perfect circumstances but about choosing connection despite imperfection. Perhaps the videographer stops filming and participates, or a final segment shows unexpected grace in an imperfect moment.
Synthesis
Final segments resolve the anthology's journey. Characters connect or find peace with disconnection. The videographer's arc completes. The various threads of the mosaic come together to create a full portrait of love in New York - messy, diverse, persistent.
Transformation
Final image mirrors the opening but transformed: the same city streets, but now we see them through the lens of love's possibility. Where we began with isolation and observation, we end with connection and participation. New York remains, ever-changing yet eternal.







