The film felt like something that could be presented with one side in black and white and the other in color. One side would depict “Hulot,” played by Jacques Tati, arriving in a Paris he once knew but now feels foreign to him. The other would showcase American tourists experiencing Europe, comfortable with new technology despite being lost when it comes to the language. An exception within that group is "Barbara," portrayed by Barbara Dennek, who repeatedly and unexpectedly crosses paths with “Hulot,” who consistently fails to connect with people as he intends. Like all of Tati’s films, this one satirizes many facets of modern life and social customs; here, it also finds humor in the convenience gadgets that people install, only to discover they are either ineffective or more cumbersome than simply hiring someone to do the work for them. The entire disastrous situation builds to a lavishly designed restaurant opening night, beginning with a loose tile and ending in a chaotic scene displaying a comedic realism reminiscent of Charlie Chaplin – but incorporating more buzzers, bells, and flashing lights. Dialogue is minimal; it’s essentially a series of situations strung together, creating moments where you brace yourself with apprehension and then heartily concur with what's happening—all while this unfortunate man in a raincoat attempts to rescue his day. It does feel somewhat lengthy, and the intentionally slow pace during the initial thirty minutes might seem repetitive by today’s standards, but its key observations and character portrayals have stood the test of time, making it an entertaining couple of hours.

Source on TMDB