Tag Archives: Olivier Assayas

Non-Fiction (Olivier Assayas, 2018)

Arriving just before his new political thriller, Wasp Network, and just after his Kristen Stewart-led horror riff, Personal Shopper, Non-Fiction finds writer-director Olivier Assayas back in the witty ensemble story mode of earlier career highlights Summer Hours (2008) and Late August, Early September (1998), but merged with the industry satire of Irma Vep (1996). There, it was the film industry skewered with affection; here, it’s the world of novels. Non-Fiction’s original French title, Double Vies, translates to ‘double lives’, and the inherent narcissism found in concealing one’s infidelities while also profiting from them is of particular interest to the director…

Full review for VODzilla.co

The great Leonard Cohen moments in film

With Nick Broomfield’s documentary Marianne & Leonard: Words of Love, an in-depth look at the relationship between Leonard Cohen and muse Marianne Ihlen, playing at the Edinburgh International Film Festival this month and on general release in July, we thought it an appropriate time to highlight some of our favourite Cohen needle drops in cinema.

Whether with his own voice or through cover versions, many films and TV shows have made stirring use of Cohen’s music, though there is no instance in which the songs in question were written with the intention of featuring in that movie or episode.

For inclusion in the small selection below, we’ve stuck to the following criteria: feature films only, one entry per song, and Cohen recordings only, not covers of his work…

Full feature for The Skinny

Clouds of Sils Maria (Olivier Assayas, 2014)

Director Olivier Assayas has a penchant of late for companion piece films. His 2012 feature Something in the Air, a film loosely based on his own coming of age in an era of widespread disillusion, was concerned with youth rebellion in early 1970s France. He mined some similar territory beforehand in his 1994 effort Cold Water, however that film only alluded to the political concerns that Something in the Air puts closer to the forefront. Cold Water and Something share some character names, similar visual cues and thematic motifs. In a way, it’s as though Assayas is using the newer film to comment on the older one, and considering Cold Water’s own supposedly autobiographical elements, one can argue that Something works as an artist looking back on how he previously looked back on his past.

This elaborate self-reflexive approach is maintained for Assayas’ latest extraordinary film, Clouds of Sils Maria, which can be viewed as a companion piece to his 1996 work Irma Vep. Both concern a veteran actress coming to terms with their place in a cinematic landscape they find increasingly baffling, and each offers a unique meta-commentary on contemporary filmmaking. Clouds of Sils Maria takes some major swings at Hollywood’s current crop of samey sci-fi and fantasy franchises along with star stories told through social media and gossip sites…

Full review for Vague Visages