#Nathalie Boutefeu

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Irma Vep (1996) Olivier Assayas

January 7th 2024

[filmjunky-99]

s o n f r è r e (his brother), 2003 🎬 dir. patrice chéreau

[genevieveetguy]

. Why do we do what's already been done? Why don't we do more personal films?

Irma Vep, Olivier Assayas (1996)

[pierreism]

Un couple, 2022. dir. Frederick Wiseman

[gameofthunder66]

-watched 2/13/2023- on HBO max

Don't know why this got good reviews, because it didn't make a lick of sense to me and I hated I wasted my time watching it!! (I guess, I just didn't get it)?

Irma Vep (1996), Olivier Assayas

Movies about moviemaking are always interesting enough simply because I am very familiar with that behind-the-scenes world and how vastly more chaotic, vapid, and unprofessional it actually is compared to the glamour and otherworldliness we often see and experience onscreen, so even though Irma Vep is a bit all over the place and mostly just people yelling at each other, which, to be fair, is exactly what the behind-the-scenes environment is like, maybe reminding me a bit too much of real-life work, there’s enough playfulness and adventure in here to make it very much worth it. 

Metacritic: n/a, RT: 91%, IMDb: 7.0

[tctmp]

Animation  Drama  Family

[moviemosaics]

Irma Vep

directed by Olivier Assayas, 1996

[pacingmusings]

Seen in 2022:

A Couple (Frederick Wiseman), 2022

[scenesandscreens]

Irma Vep (1996)

Director - Olivier Assayas, Cinematography - Eric Gautier

[maxwelltait]

Irma Vep (Assayas, 1996)

[frankenpagie]

6.30.19

[fuoridicinema]

Gli invisibili. Cosa vedere al cinema dal 2 dicembre

Gli invisibili. Cosa vedere al cinema dal 2 dicembre

Cosa vedere al cinema dal 2 dicembre? Torna la nostra rubrica di cinema poco visibile. Vi segnaliamo e consigliamo i film in sala con una bassa distribuzione, le pellicole poco pubblicizzate che meriterebbero di essere conosciute. Correte a cercarli nella vostra città prima che vengano tolti, oppure se non li trovate, segnateveli per recuperarli in futuro. Scompartimento N. 6 (Finlandia, Estonia,…

[genevieveetguy]

Madeleine Collins, Antoine Barraud (2021)

[capitanmorgancyberzine]

VENEZIA 79 - 90 ANNI DI CINEMA al LIDO di VENEZIA

Manifesto Lorenzo Mattotti

COMPETITION of 79th Venice Film Festival

1. WHITE NOISE - OPENING FILM by NOAH BAUMBACH starring Adam Driver, Greta Gerwig, Don Cheadle, Raffey Cassidy, Sam Nivola, May Nivola, Jodie Turner-Smith, André L. Benjamin and Lars Eidinger/ USA / 136'

2. IL SIGNORE DELLE FORMICHE by GIANNI AMELIO with Luigi Lo Cascio, Elio Germano, Leonardo Maltese, Sara Serraiocco / Italy / 134'

3. THE WHALE by DARREN ARONOFSKY with Brendan Fraser, Sadie Sink, Hong Chau, Samantha Morton, Ty Simpkins / USA / 117'

4. L'IMMENSITÀ by EMANUELE CRIALESE with Penélope Cruz, Luana Giuliani, Vincenzo Amato, Patrizio Francioni / Italy, France / 97'

5. SAINT OMER by ALICE DIOP with Kayije Kagame, Guslagie Malanda, Valérie Dréville, Aurélia Petit / France / 122'

6. BLONDE by ANDREW DOMINIK with Ana de Armas, Adrien Brody, Bobby Cannavale, Xavier Samuel, Julianne Nicholson, Lily Fisher / USA / 165'

7. TÁR by TODD FIELD with Cate Blanchett, Noémie Merlant, Nina Hoss, Sophie Kauer, Julian Glover, Allan Corduner, Mark Strong / USA / 158'

8. LOVE LIFE by KÔJI FUKADA with Fumino Kimura, Kento Nagayama, Atom Sunada / Japan, France / 123'

9. BARDO, FALSA CRÓNICA DE UNAS CUANTAS VERDADES (BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS) by ALEJANDRO G. IÑÁRRITU with Daniel Giménez Cacho, Griselda Siciliani, Ximena Lamadrid, Iker Sanchez Solano, Andrés Almeida, Francisco Rubio / Mexico

10. ATHENA by ROMAIN GAVRAS with Dali Benssalah, Sami Slimane, Anthony Bajon, Ouassini Embarek, Alexis Manenti / France / 97'

11. BONES AND ALL by LUCA GUADAGNINO with Taylor Russell, Timothée Chalamet, Mark Rylance, André Holland, Chloë Sevigny, Jessica Harper, David Gordon Green, Michael Stuhlbarg, Jake Horowitz / USA / 130'

12. THE ETERNAL DAUGHTER by JOANNA HOGG with Tilda Swinton, Joseph Mydell, Carly-Sophia Davies / UK, USA / 96'

13. SHAB, DAKHELI, DIVAR (BEYOND THE WALL) by VAHID JALILVAND with Navid Mohammadzadeh, Diana Habibi, Amir Aghaee / Iran / 126'

14. THE BANSHEES OF INISHERIN by MARTIN MCDONAGH starring Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan / Ireland, UK, USA / 109'

15. ARGENTINA, 1985 by SANTIAGO MITRE with Ricardo Darín, Peter Lanzani, Alejandra Flechner, Norman Briski / Argentina, USA / 140'

16. CHIARA by SUSANNA NICCHIARELLI with Margherita Mazzucco, Andrea Carpenzano, Carlotta Natoli, Paola Tiziana Cruciani, Luigi Lo Cascio / Italy, Belgium / 106' 

17. MONICA by ANDREA PALLAORO with Trace Lysette, Patricia Clarkson, Adriana Barraza, Emily Browning, Joshua Close / USA, Italy / 106'

18. KHERS NIST (NO BEARS) by JAFAR PANAHI with Jafar Panahi, Naser Hashemi, Vahid Mobaseri, Bakhtiar Panjeei, Mina Kavani, Reza Heydari / Iran / 106'

19. ALL THE BEAUTY AND THE BLOODSHED by LAURA POITRAS USA / 113'

20. UN COUPLE (A COUPLE) by FREDERICK WISEMAN with Nathalie Boutefeu / France, USA / 63'

21. THE SON by FLORIAN ZELLER with Hugh Jackman, Laura Dern, Vanessa Kirby, Zen McGrath, Anthony Hopkins, Hugh Quarshie / UK / 123'

22. LES MIENS (OUR TIES) by ROSCHDY ZEM with Sami Bouajila, Roschdy Zem, Meriem Serbah, Maïwenn, Rachid Bouchareb, Abel Jafrei, Nina Zem / France / 85'

23. LES ENFANTS DES AUTRES (OTHER PEOPLE'S CHILDREN) by REBECCA ZLOTOWSKI with Virginie Efira, Roschdy Zem, Chiara Mastroianni, Callie Ferreira / France / 104'

OUT OF COMPETITION

1. The Hanging Sun, by Francesco Cozzini - Closing Film of the Festival

2. Kapag Wala Nang Mga Alon (When the Waves are Gone), by Lav Diaz

3. Living, by Oliver Hermanus

4. Dead for a Dollar, by Walter Hill

5. Kone Taevast (Call of God), by Kim Ki-Duk

6. Dreamin' Wild, by Bill Pohlad

7. Master Gardener, by Paul Schrader

8. Drought, by Paolo Virzi

9. Pearl, by Ti West

10. Don't Worry Darling, by Olivia Wilde

OUT OF COMPETITION - NON FICTION

1. Freedom on Fire: Ukraine's Fight for Freedom, by Evgeny Afineevsky

2. The Matchmaker, by Benedetta Argentieri

3. The Last Days of Humanity, by Enrico Ghezzi and Alessandro Gagliardo

4. A Compassionate Spy, by Steve James

5. Music for Black Pigeons, by Jorgen Leth and Andreas Koefoed

6. The Kiev Trial, by Sergei Loznitsa

7. In viaggio, by Gianfranco Rosi

8. Bobi Wine Ghetto President, Christopher Sharp and Moses Bwayo

9. Nuclear, by Oliver Stone

OUT OF COMPETITION - TV SERIES

1. Riget Exodus (The Kingdom Exodus) - episodes 1-5, by Lars von Trier (1 September)

2. Copenhagen Cowboy - episodes 1-6, by Nicolas Winding Refn

OUT OF COMPETITION - SHORTS

1. Camarera de Piso (Maid), by Lucrecia Martel

2. Look at Me, by Sally Potter

3. As for Us, by Simone Massi

4. When the war is over, by Simone Massi

ORIZZONTI

1. Princess, by Roberto De Paolis - Opening film

2. Obet' (Victim), by Michal Blaško

3. En Los Margenes (On the Fringe), by Juan Diego Botto

4. Trenque Lauquen, by Laura Citarella

5. Vera, by Tizza Covi and Rainer Frimmel

6. Innocence, by Guy Davidi

7. Blanquita, by Fernando Guzzoni

8. Pour la France (For My Country), by Rachid Hami

9. Aru Otoko (A Man), by Kei Ishikawa

10. Chleb I Sol (Bread and Salt), by Damian Kocur

11. Luxembourg, Luxembourg, by Antonio Lukich

12. Ti mangio il cuore, by Pippo Mezzapesa

13. Spre Nord (To The North), by Mihai Mincan

14. Autobiography, by Makbul Mubarak

15. The Syndacaliste (The Sitting Duck), by Jean-Paul Salomé

16. Jang-E Jahani Sevom (World War III), by Houman Seyedi

17. Najsrekniot Čovek Na Svetot (The Happiest Man in the World), by Teona Strugar Mitevska

18. A Noiva (The Bride), by Sergio Trefaut

ORIZZONTI EXTRA

1. L'origine du mal (Origin of Evil), by Sebastien Marnier - Opening film

2. Hanging Gardens, by Ahmed Yassin Al Daradji

3. Amanda, by Carolina Cavalli

4. Zapatos Rojos (Red Shoes), by Carlo Eichelmann Kaiser

5. Nezouh, by Soudade Kaadan

6. Phantom Night, by Fulvio Risuleo

7. Bi Roya (Without Her), by Arian Vazirdaftari

8. Valeria Mithatenet (Valeria is Getting Married), by Michal Vinik

9. Goliath, by Adilkhan Yerzhanov

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[youviralart]

[hadarlaskey]

Why I love Maggie Cheung’s performance in Irma Vep

A number of pleasant exceptions emerge throughout Olivier Assayas’ 1996 film, Irma Vep. First and foremost, Chinese actor Maggie Cheung stands out as the central character – playing herself – in the French production of a film within a film. To witness an Asian star carrying the weight of the title character spoke volumes back then considering the reality of today: Asian actors represent one per cent of Hollywood’s leading roles.

And, arguably, Irma Vep plays out like a dual valentine to French cinema and to Cheung herself – not only from Assayas, who was romantically involved with his lead during production, but also from the film itself, in which the fictional director and costume designer are both enamoured with Cheung. It’s easy to see why: Irma Vep wouldn’t be what it is without Cheung, who slips perfectly into the character’s black bodysuit (more on that iconic look later).

The story unfolds in Paris, where Cheung arrives later than expected and jet-lagged from Hong Kong. She finds herself in a film exec’s office where tensions are running high: the camera follows a production team frantically trying to source funding for Irma Vep. After seeing her action films in Morocco, the director of the film, René Vidal (Jean-Pierre Leaud), casts Cheung as Irma Vep – an anagram of vampire – in a remake of the classic 1915 Louis Feiullade series, Les Vampires.

“You can be Irma Vep because you have the grace,” he admits to her enthusiastically during their first meeting, echoing a statement Assayas once made about Cheung: “[She is] an up-to-date version of an old-fashioned movie star.”

Indeed, Cheung straddles present and past seamlessly, mixing silent era poise with mid-’90s cool. During this time, French cinema struggled to rediscover its identity amidst the force majeure of American movies. As costume designer Zoe (Natalie Richard) tells Cheung, “I don’t like American films. Too much decoration. Too much money. But why? For what?” As the self-styled auteur Vidal, Leaud personifies the French New Wave. Meanwhile, Cheung is an outsider who barely speaks French, adding unconventional charm to this playful plot. As the three-day shoot gradually descends into chaos, she remains a picture of calmness as she rolls with the punches of the disgruntled crew.

This is further evidenced in the sex shop scene where Zoe fits Cheung for her skin-tight latex suit (inspired by Michelle Pfeiffer’s Catwoman costume in Batman Returns). As she’s zipped in, the transformation from Cheung to Irma Vep is nearly complete. And this despite the disorder all around her: Zoe’s chain-smoking; conversations which aren’t translated for her; and constant fussing over the outfit. All the while, Zoe’s affection for Cheung grows.

Back in her hotel, Cheung cuts a bored and lonely figure. Sonic Youth’s ‘Tunic (Song for Karen)’ foreshadows a rebellious and subversive act: “Goodbye Hollywood,” Kim Gordon sings, as Cheung finds herself in Irma Vep’s clothes, prowling the halls and stalking the hotel staff and guests. Cheung sneaks into another woman’s room and steals some jewellery that’s dangling from the bathroom sink. After slinking away, she takes the loot to the roof and tosses it to the ground, literally taking meta-method acting to new heights. Where does Cheung end and Irma Vep begin?

Shortly after, Vidal has a nervous breakdown and is replaced by a decidedly more patriotic director, José Mirano (Lou Castel). He removes Cheung from the starring role and casts a French actor named Laure (Nathalie Boutefeu) as Irma Vep. How could anyone else be Irma Vep other than Maggie Cheung? (This question equally applies to the upcoming eight-part TV remake starring Alicia Vikander.)

It doesn’t matter at this point. Cheung leaves Paris to meet with Ridley Scott in New York. In real life, the actor would later garner international critical acclaim in future roles such as In the Mood for Love and Clean. Life has a funny way of imitating art.

The post Why I love Maggie Cheung’s performance in Irma Vep appeared first on Little White Lies.

source https://lwlies.com/articles/maggie-cheung-irma-vep-performance/