It seems odd that the poster of Midnight in Paris, a seemingly postmodernist film which glorifies cubist and surrealist art movements, features a photograph of Owen Wilson walking along the Seine River which dissolves into an impressionist painting. Perhaps it is meant as a nod towards the inner conflict experienced by protagonist Gil Pender, a victim of a contradiction in that he is engaged to a woman that he increasingly cannot tolerate. Initially Pender alleviates his anxiety by falling in love with the City of Lights and allowing his mind to escape to a time period which suits him better …