Podcasts about Assayas

durée : 00:54:07 - Very Good Trip - par : Michka Assayas - Ce soir, nous avons notre premier rendez-vous de la semaine avec une très jeune chanteuse californienne qui, voici quelques années, a apporté quelque chose de nouveau. Un ton intime, une façon de chuchoter publiquement un secret à tout le monde. - réalisé par : Stéphane Ronxin Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Ep. 306: Olivier Assayas on his film Suspended Time, personal filmmaking, and recent favorites Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. This weekend, Rendez-Vous with French Cinema presents the latest Olivier Assayas film, Suspended Time—a thoughtful and funny chronicle set in the French countryside during pandemic lockdown. Set in Assayas's parents' house, it's about much more, circling his relationship with his rock critic brother—whom he isolated with, along with their partners—and the feelings of reckoning with mortality and the past that are stirred up. I spoke with Assayas when Suspended Time originally premiered in Berlin about fictionalizing his experience, the introspection of the pandemic, the directors that influenced him, his recent viewing, and where his Irma Vep series fit into all of this. Vincent Macaigne (also in the Irma Vep series) and Micha Lescot co-star as the brothers Assayas. Suspended Time screens March 14 and 16 at Film at Lincoln Center as part of Rendez-Vous with French Cinema 2025. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

durée : 00:54:07 - Very Good Trip - par : Michka Assayas - Ce soir, nous avons notre premier rendez-vous de la semaine avec une très jeune chanteuse californienne qui, voici quelques années, a apporté quelque chose de nouveau. Un ton intime, une façon de chuchoter publiquement un secret à tout le monde. - réalisé par : Stéphane Ronxin

durée : 00:02:23 - Les 80'' - par : Nicolas Demorand - Bonheur, ce weekend, d'écouter en podcast la 1000e émission de « Very good trip » — 1000e, vous imaginez la taille du gâteau.

durée : 00:06:44 - "Hors du Temps" ou "la comédie bobo complètement hors sol d'Olivier Assayas", selon Le Masque - Deux frères et leurs partenaires de vie sont confinés a` la campagne dans la maison familiale où ils convoquent les souvenirs d'enfance et leurs fantômes du passé. Nos critiques fustigent un entre-soi bourgeois poussif et très mal porté à l'écran.

durée : 00:12:30 - L'invité de 7h50 du week-end - par : Ali Baddou, Marion L'hour - Olivier Assayas, réalisateur et scénariste pour son nouveau film “Hors du temps” (en 19 juin) et la rétrospective qui lui est consacré à la Cinémathèque française jusqu'au 4 juillet 2024, est l'invité de France Inter. Il s'exprime également sur la situation politique du pays.

durée : 02:04:43 - Musique matin du mardi 18 juin 2024 - par : Jean-Baptiste Urbain - C'est peut-être le film le plus intime d'Olivier Assayas. "Hors du temps", qui sort demain sur les écrans, raconte son confinement avec son frère dans leur maison d'enfance, à la campagne, pendant la crise sanitaire. Une maison peuplée de souvenirs, de fantômes et de musiques. Rock et baroque. - réalisé par : Yassine Bouzar

En el décimo episodio de Manderley —en el que contamos con la participación de Juan Carlos Lemus y Andrea Morán— hablamos de IRMA VEP de Olivier Assayas, tanto del largometraje de 1996 como de la miniserie de 8 episodios basada en ella que el propio director adaptó para televisión en 2022. Abordamos primero la relación de Assayas con el serial cinematográfico LES VAMPIRES (1915-1916) y Louis Feuillade, y contextualizamos a la actriz y cineasta pionera Musidora. En el primer bloque, dedicado a la película, detallamos los orígenes del proyecto a partir de la inspiración que le provocó al director la estrella del cine chino Maggie Cheung y las resonancias metacinematográficas de un reparto que incluye a Jean-Pierre Léaud, Bulle Ogier y Lou Castel. Luego analizamos cómo presenta el desafío de la reinterpretación posmoderna de un filme clásico y la representación del lesbianismo en el cine a través de personajes clave de ambas versiones. En la parte final del programa nos centramos la versión serializada más reciente y los vínculos intertextuales y biográficos de los personajes y de su reparto, con Alicia Vikander y Vincent Macaigne. Comentamos elementos discursivos alrededor de la mercantilización de la imagen del actor y las relaciones entre el cine de autor y la industria. Finalmente, acabamos con los elementos esotéricos y ocultistas que aporta la invocación del nombre del director experimental underground Kenneth Anger dentro de la serie y la dimensión fantasmagórica del cine tan presente en las imágenes de las dos Irma Vep.

Lena Dunham has a tendency to say dumb things, and she's garnered quite a backlash during her short career. Because of that the inclusion of her 2010 film Tiny Furniture in the Criterion Collection appears to be often mentioned in the same breath as the likes of Bay's Armageddon and Fincher's The Curious Case of Benjamin Button: that is, with Criterion aficionados asking "why is this here?" But Lost in Criterion has long held that the Collection seems to have had a particular interest in festival darling interpersonal family dramas in the early 2000s -- of a wide variety! like Lee's bleakly hopeful Secret Sunshine or Assayas' bourgeoisie Summer Hours -- and I'm not convinced Tiny Furniture doesn't fit into that mold. In any case, this story of a young woman our age graduating college when we did and attempting to feel like an adult and an artist during the Great Recession hits home, and gives us a lot to talk about.

Travail, Famille, Pastis ? Louis Do de Lenquesaing dilue sa silhouette dans presque 30 ans de cinéma français. Arrivé sur le tournage de La vie des morts d'Arnaud Depleschin (1991) par des concours de circonstances, l'acteur est devenu réalisateur sur le tard : Au Galop (2012), La Sainte Famille (2019) et 2 courts-métrages que nous auront plaisir à évoquer ici. S'il a appartenu à une bande (Lovski, Devos, Assayas, Deplechin, Chéreau et les Amandiers ..), et que les bandes « sont faites pour éclater » selon son propos, Louis-Do persistera en faisant de la famille le centre de son cinéma. Ce n'est pas pour rien que nous sommes accueillis par Evrard, taulier à la voix élevée en fût de chêne et frère de l'intéressé, au Garde-Robe, adresse historique du vin nature où moi-même buvais mon premier verre au côté de Laurent Marre du Vent des jours il y a de cela presque quinze ans maintenant. Heureux d'y retourner en belle compagnie et d'évoquer autant le producteur Humbert Balsan – qu'il incarnera dans Le Père de mes enfants (2009) de Mia Hansen-Love que l'écrivain et comédien Claude Duneton avec qui il travaillera. +++++ Prise de son, interview et montage : Nicolas Reyboubet

Drôle? Pas seulement. Depuis plus de dix ans, à la radio, à la télé et sur scène, NORA HAMZAWI raconte l'époque avec humour, précision, intelligence et surtout autodérision. C'est ainsi qu'elle s'est construite, au fil du temps, une fan-base fidèle s'identifiant pleinement en elle.Désormais également actrice, notamment pour Assayas, NORA HAMZAWI raconte ici son rapport, parfois contrarié, à la mode… Des vêtements moulants de l'adolescence aux glorieuses tenues des festivals, tout est là, avec une sincérité absolument désarmante. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Two reasons this podcast exist: Film Junk and Patrick Ripoll. So I'm always grateful when Patrick returns since he's the OG co-host of this show. He's always doing killer work with Reg on 96 Greers that I highly recommend. But I vividly recall two moments of the past decade: his love of Clouds of Sils Maria and my love for Personal Shopper.  Made a mental note to put French filmmaker Olivier Assayas on the list of potential directors and the time has come to cover him. He will have a movie out later this year but there are plenty of past titles and new discoveries for both of us to discuss even if ultimately, he didn't become an all-time favorite for either of us. We cover the majority of his filmography and have plenty of laughs along the way! Thank you to Patrick for being a consistently smart, insightful guest with plenty to say. No new episode in April but you'll get two special ones in May featuring Bill Ackerman early in the month and then Mitchell Beaupre later in the month! Footnote: The opening comes courtesy of Assayas' Cold Water and a time when Patrick broke some glass recording the podcast. 00:00 - 07:36 - Introduction 07:37 - 27:57 - His early work  27:58 - 01:14:20 - Cold Water, Irma Vep 01:14:21 - 01:43:20 - Demonlover, Boarding Gate, Summer Hours 01:43:21 - 02:20:06 - Carlos, Something In The Air, Clouds of Sils Maria 02:20:07 - 02:43:50 - Personal Shopper, Non-Fiction 02:43:51 - 02:50:52 - Top 3 Assayas / Outro 96 Greers! https://ninetysixgreers.podbean.com/  

Assayas faces familiar ghosts in his most personal and sincere work "Suspended Time" in competition at the 74th Berlinale The post “Suspended Time”, interview with director Olivier Assayas appeared first on Fred Film Radio.

Assayas faces familiar ghosts in his most personal and sincere work "Suspended Time" in competition at the 74th Berlinale The post “Suspended Time”, interview with director Olivier Assayas appeared first on Fred Film Radio.

Assayas faces familiar ghosts in his most personal and sincere work "Suspended Time" in competition at the 74th Berlinale The post “Suspended Time”, interview with director Olivier Assayas appeared first on Fred Film Radio.

Assayas faces familiar ghosts in his most personal and sincere work "Suspended Time" in competition at the 74th Berlinale The post “Suspended Time”, interview with director Olivier Assayas appeared first on Fred Film Radio.

Assayas faces familiar ghosts in his most personal and sincere work "Suspended Time" in competition at the 74th Berlinale The post “Suspended Time”, interview with director Olivier Assayas appeared first on Fred Film Radio.

Assayas faces familiar ghosts in his most personal and sincere work "Suspended Time" in competition at the 74th Berlinale The post “Suspended Time”, interview with director Olivier Assayas appeared first on Fred Film Radio.

This week, Film Comment is reporting from Berlin, where the 2024 Berlinale kicked off on February 15. Throughout the festival, we'll be sharing daily podcasts, dispatches, and interviews covering all the highlights of this year's selection, including new films by Olivier Assayas, Mati Diop, Bruno Dumont, Hong Sangsoo, and many more. Subscribe to the Film Comment Letter to stay up-to-date. One of the early and most anticipated premieres of this year's festival was Olivier Assayas's new film Suspended Time. It's a kind of companion piece to his 2008 movie Summer Hours, not to mention his recent TV series Irma Vep, although Suspended Time is the filmmaker's most direct foray yet into autofiction. The film is based on the time that Assayas spent during the pandemic lockdowns of 2020 confining with his brother Etienne—and their two partners—in their childhood home in the French countryside. The film stars Vincent Macaigne as a thinly veiled onscreen surrogate for Assayas (as in Irma Vep) and features dramatized scenes of the two brothers bonding, clashing, and reminiscing on the ways in which this house and home shaped them as artists and as men. Assayas also weaves interludes throughout the film, narrated by the director himself, in which he reflects on the objects and the landscapes of his youth, and how they've influenced his cinema. On today's Podcast, FC Co-Editor Devika Girish interviewed Assayas about the making of the film, his thoughts on the genre of autofiction, and his relationship with his leading man, Vincent Macaigne, who he describes as an “agent of chaos.”

This week, Film Comment is reporting from Berlin, where the 2024 Berlinale kicked off on February 15. Throughout the festival, we'll be sharing daily podcasts, dispatches, and interviews covering all the highlights of this year's selection, including new films by Olivier Assayas, Mati Diop, Bruno Dumont, Hong Sangsoo, and many more. Subscribe to the Film Comment Letter to stay up-to-date. On today's episode, FC Editors Devika Girish is joined by critics (and FC stalwarts) Jordan Cronk, Jessica Kiang, and Jonathan Romney to talk about the festival's change in leadership, before turning to the cinematic haul of the first couple days, including Tim Mielants's Small Things Like These, Assayas's Suspended Time, Alonso Ruizpalacios's La Cocina, Nicolas Philibert's At Averroes & Rosa Parks, P. S. Vinothraj's An Adamant Girl, and Ruth Beckermann's Favoriten. Stay up to date with all of our Berlinale coverage here: https://www.filmcomment.com/blog/category/festivals/berlin/

We finish up Olivier Assayas' Carlos with the final episode of the 3-part miniseries. While the original idea for a film about Ilich Ramírez Sánchez was to focus on his ultimate arrest and life just before that, Carlos Part 3 covers that time period with what amounts to a montage of scenes that end in ellipses. Our bonus features this week also reveal some surprises about Assayas' sources, and show that at least Edgar Ramírez understands he's playing a character even as Assayas continues to equivocate whether or not this work is historically accurate.

Our second episode on Olivier Assayas' Carlos (2010) finds the film in overdrive trying to strip away any ideological motivation from its main character and paint him as moving toward purely profit-driven, which is probably the worst thing a Marxist could be. While Disc 2's additional features have our first behind the scenes look with Assayas insisting that he is being true to reality as much as possible, there's already been a lot of speculation that seemingly serves to only depoliticize Carlos' actions. But at least the music is very, very good.

The only work we've seen from Olivier Assayas before is Summer Hours, part of the Criterion Collections sub-collection of getting 21st century cinema into their purview by releasing seemingly every non-US family drama produced in the first decade of the new millennium. Like all those films (Yi Yi, Secert Sunshine, etc) we enjoyed Summer Hours. We return to Assayas in the Collection this week with a very different film, well the first of three, actually. Carlos (2010) is a sort of biopic (though with plenty of editorializing, supposition, and fictionalization) of the life of freedom fighter or terrorist Ilich Ramírez Sánchez, popularly known as Carlos the Jackal. The work is a 3-part miniseries of feature length tv films, and we'll be tackling each in its own episode, sprinkling in Criterion's ample supplements, in order to give the total 339 minute runtime of Carlos its proper due. This week we see Carlos as a fledgling freedom fighter, aligning with the Popular Front for Palestinian Liberation and deciding that means blowing stuff up in France. Episode one (and this week's supplements) lay the foundation for what I hope does not prove to be the main thesis of the film: that Carlos is a hypocritical womanizer ultimately more interested in bourgeois comforts than in Palestinian liberation. We also cover disc 4 of the set, which contains what seems to be a good chunk of Assayas's sources: two tv documentaries on Carlos and an interview with then-on-the-run former Carlos associate Hans-Joachim Klein.

On this week's Talkhouse Podcast we have the pleasure of reuniting two intensely creative individuals who first worked together decades ago: Emily Haines and Olivier Assayas. Haines is, of course, the singer and primary songwriter for the band Metric, which she's been fronting for the past 20-plus years, and which sprang from the same fertile Canadian scene that gave the world Broken Social Scene and Stars, among many others—in fact, it's Haines' voice that you hear on Broken Social Scene's biggest (and I would argue best) song, “Anthems for a Seventeen-Year-Old Girl.” But her primary focus over the years has of course been Metric, which just released their ninth album of thought-provoking indie-rock anthems, Formentera II. It's a sequel to the excellent album they released exactly a year prior, and another collection of danceable, fantastic songs. Check out “Just the Once,” from Formentera II, which Haines describes as “regret disco.” So what does a catchy Canadian indie band have to do with a fearless French filmmaker like Olivier Assayas? A lot, as it turns out. Back when Assayas was prepping his 2004 film Clean, he needed a band to perform in a scene, and when he saw Metric, everything clicked: You can see the band perform their early hit “Dead Disco” in the movie, and Haines and Assayas hit it off after working together. Like Metric, Assayas has created an incredible body of work over the years, and done it—again like Metric—by following his own muse. His best-known films include Irma Vep, Clouds of Sils Maria, and 2016's Personal Shopper, for which he was proclaimed Best Director at the Cannes Film Festival. In a strange twist, he was asked to re-created Irma Vep as a TV series for HBO, which he did under the condition that he have total artistic freedom. That came out last year, and it's definitely worth checking out. These two get right into a great discussion about how they approach creating their art: Both rely on instinct rather than any desire for commercial success. They talk about the real Formentera—it's an island in Spain—versus the one Haines created for these albums. They touch on Haines' father, a well-known poet, and how that might have figured into her creative growth. Also, you'll learn from this chat that every piano has one great song in it. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Emily Haines and Olivier Assayas for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

durée : 02:58:29 - Le 6/9 - par : Mathilde Khlat, Benjamin Dussy, Marion L'hour, Ali Baddou - Au programme du 6/9 : Michka Assayas vient nous parler des Rolling Stones, un débat éco qui se demande s'il faut construire de nouvelles autoroutes et le Grand Entretien de Frédéric Péchenard, vice-Président LR de la région Île-de-France chargé de la Sécurité et ancien DG de la Police nationale. - réalisé par : Marie MéRIER

The Orphanage (2007) ​ The Orphanage (Spanish: El orfanato) is a 2007 Spanish gothic supernatural horror film and the debut feature of Spanish filmmaker J. A. Bayona. The film stars Belén Rueda as Laura, Fernando Cayo as her husband, Carlos, and Roger Príncep as their adopted son Simón. The plot centers on Laura, who returns to her childhood home, an orphanage. Laura plans to turn the house into a home for disabled children, but after an argument with Laura, Simón goes missing.  The film's script was written by Sergio G. Sánchez in 1996 and brought to the attention of Bayona in 2004. Bayona asked his long-time friend, director Guillermo del Toro, to help produce the film and to double its budget and filming time. Bayona wanted the film to capture the feel of 1970s Spanish cinema; he cast Geraldine Chaplin and Belén Rueda, who were later praised for their roles in the film.   Personal Shopper (2017)   Personal Shopper is a 2016 supernatural psychological thriller film written and directed by Olivier Assayas. The film stars Kristen Stewart as a young American woman in Paris who works as a personal shopper for a celebrity and tries to communicate with her deceased twin brother.  An international co-production between Belgium, Czech Republic, France and Germany,  the film was selected to compete for the Palme d'Or at the 2016 Cannes Film Festival. At Cannes, Assayas shared the Best Director Award with Cristian Mungiu, who directed Graduation. The film was released on 14 December 2016 in France and 10 March 2017 in the United States. The film received positive reviews from critics, with particular praise for Stewart's performance.   Opening Credits; Introduction (1.04); Background History (28.25); The Orphanage (2007) Film Trailer (30.11); The Original (32.05); Let's Rate (1:09.51); Introducing the Double Feature (1:16.31); Personal Shopper (2017) Film Trailer (1:17.36); The Attraction (1:19.40); How Many Stars (2:07.37); End Credits (2:18.01); Closing Credits (2:19.08)   Opening Credits– Epidemic Sound – copyright 2021. All rights reserved   Closing Credits:  My Immortal by Evanescence.  Taken from the album Fallen.  Copyright 2002 Wind-Up Records. ​ Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast.    All rights reserved.  Used by Kind Permission.   All songs available through Amazon Music.  

“Asa Nisi Masa:” 8 ½ at Sixty It is an intriguing coincidence that perhaps the two greatest films ever made about the creative breakthroughs and heartbreaks involved in making a film are both celebrating major anniversaries in 2023. First, Federico Fellini's raucous, post-modern celebration of his own creative process, "8 ½" turns sixty. It's important to note, though, that while we see no filmmaking in that film, the actual portrayal of the logistical and emotional vicissitudes of film creation are very much at the heart of François Truffaut's much-beloved "Day for Night", which itself turns fifty this year. We will focus most of our time in this episode on Fellini's film, taking our intrepid listeners on a tour that begins with an opening that stands as the most brilliant metaphor for creative blockage ever put on film, all the way through the end with the circus band playing Nino Rota's indelible march as every character we've seen from the director's past and present joins hands and dances in perhaps the most life-affirming moment in all of film. We then use Fellini's work as a springboard to discuss the other films about filmmaking that we love, starting with "Day for Night", and bringing in works ranging in tone from Assayas' "Irma Vep" to Jonze's "Adaptation" to Burton's loving tribute to Ed Wood. Finally, we'll take a quick peek at this year's two great portraits of the filmmaker as a young man, Gray's "Armageddon Time" and Spielberg's "The Fabelmans" (though honestly, I'd take J.J. Abrams' "Super 8" over either of them). But it's important to keep in mind that all of these wonderful films probably never even come close to happening without Fellini blazing the trail. To paraphrase the master himself, he may have had nothing to say, but fortunately for all of us, he found the most brilliant way to say it all the same. Grazie mille, maestro!

Dans le clip de son morceau “Higher Than I Can Explain”, il joue un autostoppeur qui monte dans un corbillard, avant de subir un étrange rituel. Le producteur, compositeur et interprète Antoine Assayas est l'invité de cet épisode de Bagnolards. Ce passionné de field recording évoque les voyages qu'il a réalisés en voiture pour enregistrer des sons, mais aussi les destinations qu'il aimerait visiter. Antoine Assayas se souvient par ailleurs des voitures qui ont marqué son enfance. Et raconte l'accident de la route qui a failli lui coûter la vie.Soutenez ce podcast http://supporter.acast.com/bagnolards. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Olivier Assayas has always been a filmmaker and critic who is interested in the essential question: what is cinema? His reflections are often espoused though the characters in his films, with the repeated deployment of the "film within a film" device, and now, in the recreation of his 1996 low budget cult classic Irma Vep, into a 8-episode HBO miniseries. This week Dario was joined by Reader in Film Studies Dr Catherine Wheatley to discuss the original film. But with Catherine writing a positive, joyful, review of the TV "sequel" in Sight and Sound, aspects of comparison were always going to suffuse the conversation. We talk about Assayas as a postmodern, chameleonic filmmaker, and his place in the history of French cinema as both an insider and outsider. Then of course there is the ethereal vision that is Maggie Cheung. Paradoxically, in the film she plays the mystical, femme fatale role, made famous by Musidora in Louis Feuillade's fabled 1915 Les Vampires. Assayas clearly anchors the film on her mesmerising beauty, perhaps bordering on exoticisation. But she is also normalised in the role. Playing a meta-fictional version of herself, a star on the verge of international breakthrough but somewhat lost in the chaos of a Parisian film shoot that is falling apart. Comparisons with Alicia Vikander, cast in the recent TV sequel are also a centre-point to the conversation. --- You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists' Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass & guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing  

durée : 00:52:04 - C'est encore nous - par : Charline Vanhoenacker - Bonjour la France Inter ! Aujourd'hui, Charline Vanhoenacker et Juliette Arnaud reçoivent le journaliste Michka Assayas !

durée : 00:52:04 - C'est encore nous - par : Charline Vanhoenacker - Bonjour la France Inter ! Aujourd'hui, Charline Vanhoenacker et Juliette Arnaud reçoivent le journaliste Michka Assayas !

durée : 00:01:42 - Les 80'' - par : Nicolas Demorand - De l'ami Michka Assayas, les auditeurs d'Inter connaissent l'émission Very good trip, le timbre d'une voix marquée par la jeunesse ou plutôt la curiosité éternelle et, évidemment, une culture musicale phénoménale.

En este mundo de secuelas, reboots y reciclaje de toda clase de productos audiovisuales, Irma Vep —la miniserie que Olivier Assayas produjo con A24 para HBO— es al mismo tiempo parte de la tendencia y más flagrante excepción. De partida, Assayas ya transitó por este mismo camino allá por 1996, cuando junto a su musa Maggie Cheung filmaron la primera Irma Vep como el frustrado relato de un director que pretende hacer un remake de la distante Les Vampires, en el marco del primer centenario del cine y un fin de siglo en donde la imagen y su enigma aparecían cada vez más amenazados por fantasmas corporativos. Hoy, a casi 30 años de distancia, cuando habitamos plenamente en el mundo de la Corporación, Assayas trae de vuelta a Irma Vep en el nuevo "formato rey", la serie de streaming, para meditar sobre lo mismo e ir más allá: cine dentro del cine, la naturaleza de las movie stars; la idea del actor y sus roles en cuanto "presencias", ideas perennes, que viajan a través de las décadas y las tendencias. Extraña circularidad: allá por 1915, Louis Feullaide inauguró el moderno cine de acción, suspenso y aventuras, con Les Vampires, creando al primer gran arquetipo de villano fílmico, Irma Vep; la misma que regresa ahora, también en formato serie, cual fantasma que nos ronda sin descanso. Sobre eso y otras cosas trata este podcast.

Olivier Assayas wrote and directed "Irma Vep" that portrays the state of French cinema at the time by placing the audience in the middle of making a film. A film about a film like how Assayas did is very invasive in an artful way. I briefly explain this method in this episode. I really enjoyed the film, it's nice to see people break down in normal situations, it's nice to see how people coexist despite their upbringings. It's not said but it's displayed and I think it adds progressive tendencies as to why we do the things we do.#irmavep #maggiecheung #morningreel

Quase trinta anos depois do filme e mais de um século após a série original, Irma Vep está de volta e mais cool do que nunca - agora na telinha! Retornando à televisão, Olivier Assayas faz sua primeira aventura pela HBO com um “remake” do filme que o consagrou no pop em formato de minissérie, agora escalando Alicia Vikander para o papel da atriz que interpreta a icônica personagem do cinema francês numa produção às avessas. E com a metalinguagem em alta, é apenas óbvio que a série triplique o volume de comentários incisivos sobre a indústria do cinema, ainda mais numa era onde obras viraram conteúdo e o meio - mais do que nunca - é movido pelo capital. No Cinemático 311, Carlos Merigo, Guilherme Jacobs e Pedro Strazza conversam sobre a minissérie, comparam com o filme de 1996 e analisam o que Assayas busca tirar de novo nessa nova versão. E afinal, seria o personagem de Vincent Macaigne o hipocondríaco do ano?   spoilers: 28m57s notas: 38m38s     ASSINE: catarse.me/cinematico SIGA @CINEMATICOPOD   Apresentação: Carlos MerigoProdução e Pesquisa: Pedro StrazzaEdição e Sonorização: Marcelo MirandaAtendimento e Comercialização: FTPI / Boo-BoxContato: cinematico@b9.com.brSee omnystudio.com/listener for privacy information.

IRMA VEP SERIES REVIEW In 1996, writer director Olivier Assayas made Irma Vep, a film about the (fictional) feature film remake of the (real) seven hour, 1915 silent serial, Les Vampires. Over 25 years later, Assayas has turned his previous film into a ten part HBO miniseries. In the original, actress Maggie Cheung played herself,… Read More »Screener Squad: Irma Vep

IRMA VEP SERIES REVIEW In 1996, writer director Olivier Assayas made Irma Vep, a film about the (fictional) feature film remake of the (real) seven hour, 1915 silent serial, Les Vampires. Over 25 years later, Assayas has turned his previous film into a ten part HBO miniseries. In the original, actress Maggie Cheung played herself,… Read More »Screener Squad: Irma Vep

Dans ce nouvel épisode de Quoi de Meuf, on vous parle d'Irma Vep, la dernière série d'Olivier Assayas pour HBO et A24, disponible sur OCS. Les spectateurices suivent ici Mira (jouée par Alicia Vikander) qui arrive en France pour interpréter Irma Vep dans “Les Vampires”, un remake de ce classique du film muet français. Nos journalistes retracent ici pour vous l'histoire d'Irma Vep et de la célèbre actrice Musidora et des différentes adaptations qu'a connues le film. Qu'en ont-elles pensé ? Olivier Assayas a-t-il réussi à dépoussiérer ce classique du cinéma français ? Clémentine Gallot et Pauline Verduzier décortiquent ces points et vous en parlent dans ce nouvel épisode de Quoi de Meuf.Références entendues dans l'épisode : Irma Vep d'Olivier Assayas. (2022)Les Vampires de Louis Feuillade. (1915)Sol y sombra de Musidora, Jacques Lasseyne et Jaime De Lausen. (1922)Qui est Musidora, la toute première vamp du cinéma ? par Pierre Groppo pour Vanity Fair. (2022)Irma Vep d'Olivier Assayas. (1996)Fin août, début septembre d'Olivier Assayas. (1999)Les destinées sentimentales d'Olivier Assayas. (2000)Carlos d'Olivier Assayas. (2010)Sils Maria d'Olivier Assayas. (2014)Quoi de Meuf est une émission de Nouvelles Écoutes. Rédaction en chef : Clémentine Gallot. Journaliste chroniqueuse : Pauline Verduzier. Mixage et montage : Laurie Galligani. Prise de son Adrien Beccaria à l'Arrière boutique. Générique réalisé par Aurore Mahieu. Réalisation et coordination : Cassandra de Carvalho et Mathilde Jonin. Vous pouvez consulter notre politique de confidentialité sur https://art19.com/privacy ainsi que la notice de confidentialité de la Californie sur https://art19.com/privacy#do-not-sell-my-info.

durée : 00:43:19 - Signes des temps - par : Marc Weitzmann - Pour la première adaptation en série d'un film français indépendant par une plateforme, HBO a choisi "Irma Vep" d'Olivier Assayas : le résultat est une comédie ironique brillante offrant aussi une réflexion sur le cinéma, le désir des femmes et les fantasmes des hommes d'aujourd'hui. - invités : Olivier Assayas Réalisateur, scénariste

Writer Brandon Streussnig joins us to discuss Olivier Assayas's 1996 postmodern masterpiece 'Irma Vep'. It's a revelatory metatextual exploration of creation, capitalism, and cinema - past, present & future.We discuss the indelible magnetism of star Maggie Cheung (playing a version of herself), the film's considerations of the shifting proclivities of audiences on the global stage in the mid-90s, and the ways in which modern moviemaking seems averse to asking big questions about itself and the ways people watch it. Then, we briefly discuss Assayas's return to the property in the form of a brand new HBO miniseries that loses none of the potency of the original a quarter century later. Follow Brandon Streussnig on Twitter.Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish

These last two weeks, HBO Max has been serving up catnip for cinephiles with Olivier Assayas's new, mind-bendingly metatextual show, Irma Vep. In 1996, Assayas made a film with the same title, about the attempts of an aging French filmmaker to remake Louis Feuillade's classic silent serial, Les vampires, with Maggie Cheung as the original vamp, Irma Vep. The new series expands on and reimagines that premise with a mise-en-abyme structure: here, a neurotic filmmaker seemingly modeled on Assayas remakes Feuillade's serial for a contemporary, binge-TV audience. Alicia Vikander plays Mira Harberg, an American pop heroine who is cast as Irma Vep among a glossy, transnational crew of actors. In the four episodes available to critics so far, Irma Vep engages with its multiple sources, its medium, and the lives of its creators in increasingly surprising and thought-provoking ways. On this week's podcast, FC editors Devika Girish and Clinton Krute invited critics Adam Nayman and Beatrice Loayza to dig into the series' endless rabbit holes and riffs on the history of serials, cinema, and, well, content.

Hay personajes inolvidables que puedan ser actualizados en diferentes épocas y seguir funcionando. Eso intenta el francés Olivier Assayas con la vampira de Musidora, la musa del cine mudo que primero llevó al cine en Irma Vep y ahora a la televisión con Alicia Vikander. Es uno de los estrenos más interesantes de este mes pero hay muchísimos más, como ‘Intimidad', la serie de Netflix que denuncia el acoso y la violación de la intimidad de varias mujeres con un reparto de lujo. Charlamos con Itziar Ituño y Patricia López Arnáiz. 

durée : 00:27:15 - La Grande Table culture - par : Olivia Gesbert - Vingt-huit ans après son film "Irma Vep" (1996), le réalisateur Olivier Assayas revient en 2022 avec la série du même nom, présentée au festival de Cannes. Zoom sur le personnages mythique d'Irma Vep depuis les feuilletons de Louis Feuillade en 1915. - invités : Olivier Assayas Réalisateur, scénariste

durée : 00:27:15 - La Grande Table culture - par : Olivia Gesbert - Vingt-huit ans après son film "Irma Vep" (1996), le réalisateur Olivier Assayas revient en 2022 avec la série du même nom, présentée au festival de Cannes. Zoom sur le personnages mythique d'Irma Vep depuis les feuilletons de Louis Feuillade en 1915. - invités : Olivier Assayas Réalisateur, scénariste

durée : 00:27:15 - La Grande Table culture - par : Olivia Gesbert - Vingt-huit ans après son film "Irma Vep" (1996), le réalisateur Olivier Assayas revient en 2022 avec la série du même nom, présentée au festival de Cannes. Zoom sur le personnages mythique d'Irma Vep depuis les feuilletons de Louis Feuillade en 1915. - invités : Olivier Assayas Réalisateur, scénariste

durée : 00:07:17 - Info médias - Olivier Assayas réalise sa première série américaine : "Irma Vep", adaptation de son propre film de 1996 pour la réputée chaine américaine HBO ("les Sopranos", "Sur Ecoute"). Un série drole et légère, lettre d'amour au cinéma, sa première et aussi sa dernière série.

durée : 00:55:48 - Côté club - par : Laurent Goumarre - Côté Club, le rendez-vous de toute la scène française et plus si affinités. Une heure pour faire le tour de l'actualité musicale et plus encore. Quand la musique rencontre les arts, du cinéma à la BD, du théâtre à la littérature. Bienvenue au Club !

CW: Suicide, sexual assault, age gap relationships, and fear of aging/death. Clouds of Sils Maria (2014) is a beautiful movie by Olivier Assayas about inevitabilities of aging and the difficulty actors face when drawing the line between fiction and reality - if you haven't seen it, you might be interested to watch it before listening to this episode! We attempt to give our interpretation of the film, while also talking about a lot about its inspiration from The Bitter Tears of Petra von Kant and a little about Assayas' other works and controversies.

durée : 00:55:44 - Côté club - par : Laurent Goumarre - Côté Club, le rendez-vous de toute la scène française et plus si affinités. Une heure pour faire le tour de l'actualité musicale et plus encore. Quand la musique rencontre les arts, du cinéma à la BD, du théâtre à la littérature. Bienvenue au Club !

Dave and Alonso catch up on two diametrically opposed new movies before catching up on some listener mail. Subscribe (and review us) on iTunes, follow us @linoleumcast on Twitter, Facebook and Instagram, gonna walk into London on my hands someday. Join our club, won't you? Dave's DVD pick of the week: IRMA VEP Alonso's DVD pick of the week: CLOUDS OF SILS MARIA