#the clouds of sils maria

[cinemajunkie70]

The happiest of birthdays to the very awesome Juliette Binoche!

[verypersonalscreencaps]

Top 5 First-Time Watches of March 2024

1. MUSTANG (2015, dir. Deniz Gamze Ergüven) 2. LA PASSION DE DODIN BOUFFANT (2023, dir. Tran Anh Hung) 3. BIRTH (2004, dir. Jonathan Glazer) 4. CLOUDS OF SILS MARIA (2014, dir. Olivier Assayas) 5. SOMETIMES I THINK ABOUT DYING (2023, dir. Rachel Lambert)

And SIBYL (2019, dir. Justine Triet) as honorable mention just because of her!

[bisexual-movies]

bi movie clouds of sils maria (2014)

[haveyouseenthismovie-poll]

[stewartbyassayas]

happy together (1997), dir. wong kar-wai // clouds of sils maria (2014), dir olivier assayas

[warningsine]

Wuthering Heights, Emily Brontë // Persona (1966), dir. Ingmar Bergman // Dead Ringers (2023) // Alien: Covenant (2017), dir. Ridley Scott // Hannibal (2013 - 2015) // Apocalypse Now (1979), dir. Francis Ford Coppola // Mulholland Drive (2001), dir. David Lynch // Yellowjackets (2021 - ) // Carmilla, Sheridan Le Fanu // Clouds of Sils Maria (2014), dir. Olivier Assayas

[hiddenbyleaves]

Clouds of Sils Maria (Olivier Assayas, 2014)

[gregor-samsung]

Sils Maria [Clouds of Sils Maria] (Olivier Assayas, 2014)

[armeniuslaurant]

About 30 minutes into Clouds of Sils Maria, and I'm reframing my viewing of it into a comedy.

[thehours2002]

i hope the sag-aftra strike is resolved soon because i want to watch a zillion interviews about how may december is about natalie portman's character studying julianne moore's character (fake mary kay letourneau)--so that she can better portray her for a biopic. but what portman's character is doing--building up a role (fake mary kay letourneau)--is also a process julianne moore went through (building up fake mary kay letourneau) for may december.

i wish there was a better way to word this but i think this is an interesting twist on the actresses playing actresses conceit in that portman's character has to do what julianne moore does (minus firsthand research) because they (portman's character and julianne moore) are both bringing the same character to life. because the film shifts critical focus from fake mary kay letourneau to natalie portman's character, it almost reads as a critique of a dedicated performer like julianne moore herself

[stephstans]

Oscars: “The ever iconic Kristen Stewart has an extensive filmography and an impressive list of accolades including an Oscar nomination for her outstanding performance as Princess Diana in ‘Spencer’ (2021).”

[carcarrot]

composing an incredibly detailed and informed rant about the indiewire juliette binoche retrospective they're doing for the quad cinema and how there are SUCH better choices from her filmography than the ones they picked

[aquila1nz]

Gone

[holyterrainn]

[byneddiedingo]

Kristen Stewart and Juliette Binoche in Clouds of Sils Maria (Olivier Assayas, 2014) Cast: Juliette Binoche, Kristen Stewart, Chloë Grace Moretz, Lars Eidinger, Johnny Flynn, Angela Winkler, Hanns Zischler. Screenplay: Olivier Assayas. Cinematography: Yorick Le Saux. Production design: François-Renaud Labarthe. Film editing: Marion Monnier.  Olivier Assayas's Clouds of Sils Maria demands almost as much attention after you've finished it as it did while you were watching it. The set-up is this: An actress, Maria Enders (Juliette Binoche), is asked to perform in a revival of the play that made her famous when she was only 18. Now that she's in her 40s, however, she will play the older woman who has a relationship with the character she earlier played. She accepts reluctantly, and then wants to back out when she finds that the younger actress, Jo-Ann Ellis (Chloë Grace Moretz), who has been cast in her original role is a Hollywood star best known not only for working in sci-fi blockbusters but also for her off-screen affairs that draw the attention of the paparazzi and Internet gossip sites. However, Maria's personal assistant, Valentine (Kristen Stewart), thinks Jo-Ann is a good actress who has been exploited by the media, and persuades Maria to take the role. Maria and Valentine retreat to the home of the play's author, who has recently died, in Sils Maria, a Swiss village, where Valentine helps Maria learn her lines. As the film progresses, the lines of the play echo not only Maria's own feelings about growing older, but also the somewhat ambiguous relationship between Maria and Valentine. Indeed, it's often not entirely clear whether actress and assistant are reciting the lines of the play or are voicing their own feelings for each other. And then the casting of the film brings out another layer of meaning: Stewart is best-known for the Twilight movies, precisely the kind of Hollywood film that Maria turns up her nose at when she first hears about Jo-Ann's career. Assayas, who also wrote the screenplay, deftly juggles all these layers of art and reality, but the film would be nothing without Stewart's superb performance, which won her the César Award in France as well as the best supporting actress awards from the New York Film Critics Circle and the National Society of Film Critics. There are those who think the film is more talk than substance and that it feels like a "high-concept" product: Persona (Ingmar Bergman, 1966) meets All About Eve (Joseph L. Mankiewicz, 1950), perhaps. But seeing Stewart interact with Binoche more than justifies it for me.

[warningsine]