Podcasts about Assayas

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.

Chaque jour, deux chroniqueurs présentent les infos indispensables à connaître en matière de culture : les dernières actus musique, les sorties littéraires ou cinéma, les nouvelles pièces de théâtre et les séries à ne pas manquer... C'est ici

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

Par Yacine Nemra, Pascaline Sordet et Antoine Bal. - "Irma Vep", adaptation HBO du film français d'Assayas repris par lui-même en format série (OCS, My Canal). Les premiers épisodes sont montrés à Cannes et la série sort dès le 6 juin. Mira, une star de cinéma américaine bouleversée par sa récente rupture, part en France pour jouer le rôle d'Irma Vep dans un remake du classique français du cinéma muet, Les Vampires de Louis Feuillade, rôle campé autrefois par Musidora. - "Des gens bien ordinaires", la mini-série d'Ovidie, création Canal+, avec notamment Romane Bohringer Romain, 18 ans, est étudiant en sociologie. Avec sa meilleure amie, Isaure, ils forment un duo d'enfants de la France pavillonnaire des années 90 qui rêvent de refaire le monde. Mais tous les deux n'ont pas la même façon d'exprimer leur radicalité. - "Obi Wan Kenobi" sur Disney+, avec Ewan Mc Gregor À la suite de la chute de l'ordre Jedi, l'Empereur Sith Palpatine a installé son régime de fer sur la galaxie. Obi-Wan Kenobi va devoir veiller discrètement sur le jeune Luke Skywalker face à la menace que représente l'Empire mais aussi celle d'autres protagonistes, et en particulier son ancien apprenti, devenu le bras armé de l'Empereur: Dark Vador. Coups de cœur: - "Borgen" nouvelle saison - "Barrie" saison 3 - "The Flight Attendant"

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.

Les samedis sont Jazz sur Tsugi Radio. Mischka est un des plus grand rock critique de sa génération et on le dit avec toutes les pincettes que cela necessite. Mais du coup quand on le lance dans le Jazz, ça donne quoi ?  TRACKLIST  1_  Brigitte Fontaine - Comme a la radio 2_ Gong - Tried so Hard 3_  Henry Cow - Ruins 4_  Captain Beefheart & His Magic Band - Dachau Blues 5_  Traffic - The Low Spark Of High-Heeled Boys 6_  John Martyn - Solid Air 7_  Robert Wyatt - Little Red Riding Hood Hit the Road

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 !

Emission passéisme, morts violentes et caméra opératique. Critiquons pour passer le temps, les fantasmes d'une fille de 20 ans et les acrobaties des combattants, et on s'habillera tout en Gucci, devant le miroir on se trouve B, un peu gêné, quand la famille demande le prix. En face ils sont jaloux, jaloux de qui ? Jaloux de nous.Au programme cette semaine:* Last Night in Soho, nouveau film du rosbeef Edgar Wright. Lutter contre la nostalgie, camarade, avec sa caméra, mais en oubliant ses personnages.* House of Gucci, deuxième fournée cinéma de Sir Ridley Scott cette année. Est-on forcément génial en voulant encore toucher du doigt la vulgarité en 2021 ?* Grosse fournée de productions Shaw Brothers, dans son dernier baroud d'honneur, édité chez Spectrum Films, dans de belles éditions. Bastard Swordsman et Return of the Bastard Swordsman, de Tony Liu  et Holy Flame of the Martial World (Tony Liu) édité avec le monstrueusement fun Demon of the Lute (Tang Tak-Cheung).Le 12 décembre, avec les copains du Cinéma est mort, on part à la recherche d'une moitié de cigare plantée dans la bouche d'un grand fils de chienne, un type blond et qui parle peu.Coups de cœur:THOMAS: la série d'été de Michka Assayas sur le Zim + Will Ferrell: You're Welcome America. A Final Night with George W BushTHIBAUT: La Sorcellerie à travers les âges (Häxan - Benjamin Christensen)DOC ERWAN: Komodrag & The Mounodor (Transmusicales 2021)JUSTEEN: Cuften (Transmusicales 2021)PLAYLISTPrégénérique / Extrait Austin PowersAnya Taylor-Joy / DowntownQuincy Jones / Soul Bossa Nova

Ian and Sujewa look at Olivier Assayas' wonderfully weird movie-about-indie-movies, Irma Vep!This electric 1996 dramedy stars Maggie Cheung as a Hong Kong actress arriving in France to film a remake of a 1916 silent film serial about jewel thieves and hypnosis. Between an off-the-rails and over-schedule production; a director on the verge of a nervous breakdown; and back-stabbing crew politics, it's no wonder Maggie's grip on reality becomes as tenuous as her director's grasp of the script.Ian and Sujewa dig into the many layers on which Assayas' witty and fast-moving screenplay works; the tensions between Hollywood blockbusters and world cinema at large; and Ian's skepticism at the recently announced Irma Vep TV series in development at HBO!Plus: Sujewa shares some big announcements and bigger ambitions for 2022 regarding his recently completed film, The Secret Society for Slow Romance!Show LinksWatch the Irma Vep trailer.Watch the Secret Society for Slow Romance trailer.Watch a clip from Slow Romance.Learn more about Slow Romance at the film's website.Keep up with all of Sujewa's projects.Watch Irma Vep on The Criterion Channel or buy the Blu-ray from criterion.com.Subscribe to, like, and comment on the Kicking the Seat YouTube channel!

We talk about a couple Assayas movies thanks Josh Our twitter is @CannesIKickIt Our letterboxd is CIKIPod Enjoying the show? Feel free to send a few bucks our way on Ko-fi. Thanks to Tree Related for our theme song Our hosts are @andytgerm @clatchley @imlaughalone @jpglickwebber

durée : 01:45:20 - Le Grand Atelier - C’est un intellectuel mais surtout un artiste sensible qui sait filmer les femmes, leurs corps et leurs visages. Il filme des êtres qui s’interrogent sur leur place dans la famille et s’intéresse autant à l’intime et à l’introspection qu’à l’Histoire, la géopolitique, la peinture,le dessin, ou la littérature...

Dave and Alonso are very enthusiastic about an indie drama and two new docs. Subscribe (and review us) at Apple Podcasts, follow us @linoleumcast on Twitter, Instagram, and Facebook, and she's the reason. This episode of Linoleum Knife is brought to you by OVID.tv -- films from an independent world. Join our club, won't you? Alonso's streaming pick of the week: HER STORY

Welcome back to Intermission, a spin-off podcast from The Film Stage Show. In a time when arthouse theaters are hurting more than ever and there are a plethora of streaming options at your fingertips, we wanted to introduce new conversations that put a specific focus on the films that are foundational or perhaps overlooked in cinephile culture. Led by yours truly, Michael Snydel (co-host of The Film Stage Show), Intermission is a 1-on-1 supplementary discussion podcast that focuses on one arthouse, foreign, or experimental film per episode as picked by the guest. For our sixth episode, I talked to critic Vikram Murthi about Olivier Assayas' 1994 French bildungsroman, Cold Water, which is currently available on the Criterion Channel and on disc. A dual character study of teenage restlessness against the backdrop of post-May '68 protests, it's a film whose knowledge of sociology, philosophy, and history is ingrained in every frame. But as Vikram posits, it's not a film about a specific ideology as much as animated by the movements that envelop the existence of its lead characters, Gille and Christine. It's also a film about kids who are more inspired by beat poets like Allan Ginsberg than prominent historical thinkers like Jean Jacques-Rosseau. Appropriately, the latter's writing is the background noise in a casually dazzling sequence where the camera follows a stack of LPs passed like a crush note from the back to the front of a classroom. Despite these esoteric descriptions and Assayas' reputation as a filmmaker who bounces between poles of formal intellectualism and metatextual flights of fancy, Cold Water is ultimately a film about teens finding freedom and life in other outlets like rock music–represented by canonical American and English artists like Roxy Music, Bob Dylan, and Creedence Clearwater Revival–joyfully trashing an abandoned house, and youthful heartbreak. Trisected into three sections, that search for freedom is exemplified through a sublime 30-minute party sequence that never feels indulgent but a necessary summit before a sighing comedown. In our full conversation, Vikram and I talked about Assayas' refusal to judge any of his characters, the challenging but meticulous pacing, and the nature of social politics in the coming-of-age genre. Intermission episodes are shared exclusively with our Patreon community before being posted to The Film Stage Show's main feed. One can also enter our giveaways, get access to our private Slack channel, and support new episodes by becoming a Patreon contributor. For a limited time, all new Patreon supporters will receive a free Blu-ray/DVD. After becoming a contributor, e-mail podcast@thefilmstage.com for an up-to-date list of available films. Intermission is supported by MUBI, a curated streaming service showcasing exceptional films from around the globe. Every day, MUBI premieres a new film. Whether it's a timeless classic, a cult favorite, or an acclaimed masterpiece — it's guaranteed to be either a movie you've been dying to see or one you've never heard of before and there will always be something new to discover. Try it for free for 30 days at mubi.com/filmstage.

durée : 00:49:59 - Les Nuits de France Culture - par : Philippe Garbit, Christine Goémé, Albane Penaranda - En 2009, Olivier Assayas était au micro de Michel Ciment dans "Projection privée" à l'occasion de la parution de son ouvrage "Présences. Écrits sur le cinéma". - réalisation : Virginie Mourthé - invités : Olivier Assayas Cinéaste

durée : 00:58:51 - Les Masterclasses - par : Olivia Gesbert - Dès son adolescence, Olivier Assayas a eu, selon lui, "l'arrogance" de vouloir faire du cinéma. Avant cela, il y a eu la peinture et Les Cahiers du cinéma. Au micro d'Olivia Gesbert, le cinéaste évoque son parcours, et la nécessité existentielle de faire l'expérience de cet art collectif. - réalisation : Olivier Guérin - invités : Olivier Assayas Cinéaste

durée : 00:58:51 - Les Masterclasses - par : Olivia Gesbert - Dès son adolescence, Olivier Assayas a eu, selon lui, "l'arrogance" de vouloir faire du cinéma. Avant cela, il y a eu la peinture et Les Cahiers du cinéma. Au micro d'Olivia Gesbert, le cinéaste évoque son parcours, et la nécessité existentielle de faire l'expérience de cet art collectif. - réalisation : Olivier Guérin - invités : Olivier Assayas Cinéaste

durée : 00:04:59 - Le monde d'Elodie - par : Elodie SUIGO - Le réalisateur sort son dernier film, Cuban Network, en VOD et s'interroge sur ce que la pandémie change dans le monde du cinéma.

In this episode of Back Row and Chill Stay Home Special, Noel and Jahannah spoke to Big Show, Viola Davis, Joe Bannister Kristen Hanby, Kevin Macdonald, Clifford Samuel, Oliver Assayas, Alex Hobern, Leo Suter and Jordan Waller.

In this episode of Back Row and Chill Stay Home Special, Noel and Jahannah spoke to Big Show, Viola Davis, Joe Bannister Kristen Hanby, Kevin Macdonald, Clifford Samuel, Oliver Assayas, Alex Hobern, Leo Suter and Jordan Waller.

On the latest episode of the Talkhouse Podcast, two of the greatest living filmmakers, Kelly Reichardt and Olivier Assayas, sit down for an intimate conversation. Recorded last fall when Reichardt’s First Cow (in theaters March 6 through A24) and Assayas’ Wasp Network were both playing at the New York Film Festival, this talk sees the two comparing notes on the intricacies of their respective creative processes, from writing through to editing. They discuss the ways in which they differ (such as Assayas’ enforced spontaneity and Reichardt’s love of preparation), the personal backstories to Assayas’ films Cold Water and Summer Hours, Reichardt’s past growing up in a law-enforcement family in Miami, the way new technology figures in their work, and much more. For more filmmakers and comedians talking film and TV, visit Talkhouse Film at talkhouse.com/film. Subscribe now to stay in the loop on future episodes of the Talkhouse Podcast.

It's Harley Quinn to you, Birds of Prey opts for its deadname to please Google. Olivia Coleman is going to star in Maggie Gylenhaal's debut feature and Hyperlinks is on this weekend! We stan Assayas! Plus reviews of Maya Newell's new documentary In My Blood It Runs and Zoë Kravitz is there for your February spiral in High Fidelity.

durée : 00:04:26 - Cinéma week-end - par : Florence LEROY - Le réalisateur et scénariste français Olivier Assayas, adepte des expériences, ressuscite un épisode cocasse de l'histoire de Cuba.

durée : 00:28:03 - La Grande table culture - par : Olivia Gesbert - Il a travaillé pour Desplechin, Resnais, Assayas, Walter Salles, Ang Lee… Portrait du chef opérateur Eric Gautier à l'occasion de la sortie de "La Vérité" de Kore-Eda (en salle le 25 décembre). - réalisation : Eric Lancien, Gilles Blanchard - invités : Eric Gautier Chef opérateur

durée : 00:28:03 - La Grande table culture - par : Olivia Gesbert - Il a travaillé pour Desplechin, Resnais, Assayas, Walter Salles, Ang Lee… Portrait du chef opérateur Eric Gautier à l'occasion de la sortie de "La Vérité" de Kore-Eda (en salle le 25 décembre). - réalisation : Eric Lancien, Gilles Blanchard - invités : Eric Gautier Chef opérateur

Playlist de l'émission : Ice Cream - Banana Split Ice Cream - Peanut Butter When Saints Go Machine - MVL When Saints Go Machine - Reflection of You (Bloodshot) Max Cooper - Scalarfeat. Alison Moyet Max Cooper - Nanotech Antoine Assayas - Glimpse of An Eye Antoine Assayas - Find Yourself a Flavor Quiver - 9 Mondays Kip Nelson (ft. Bira) - Be On My Side

Quelques jours avant la sortie de son album "Robin - Glimpse Of A Faraway Dream", Antoine Assayas est passé par notre studio à la Villette, pour une interview "coup de pouce" et un live en direct. Avec nos partenaires

Quelques jours avant la sortie de son album "Robin - Glimpse Of A Faraway Dream", Antoine Assayas est passé par notre studio à la Villette, pour une interview "coup de pouce" et un live en direct. Avec nos partenaires

durée : 00:49:14 - Estivalitude - par : Christophe Bourseiller - Cinéma, musique ? Musique, cinéma ? Arnaud Rebotini et Olivier Assayas s'essaient au mélange des genres dans Estivalitude, la petite boutique éphémère de Christophe Bourseiller à 9h sur France Inter. - invités : Arnaud REBOTINI, Olivier Assayas - Arnaud REBOTINI Olivier ASSAYAS

durée : 00:28:20 - La Grande table (1ère partie) - L'un est écrivain, l'autre cinéaste. 80 ans après, ils ont refait le voyage d'un bateau parti de Marseille pour la Martinique en 1941. A partir des textes de Jacques Rémy et des photographies de Germaine Krull, Adrien Bosc et Olivier Assayas publient "Un voyage : Marseille-Rio 1941" (Stock, 2019).

durée : 00:28:20 - La Grande table (1ère partie) - L'un est écrivain, l'autre cinéaste. 80 ans après, ils ont refait le voyage d'un bateau parti de Marseille pour la Martinique en 1941. A partir des textes de Jacques Rémy et des photographies de Germaine Krull, Adrien Bosc et Olivier Assayas publient "Un voyage : Marseille-Rio 1941" (Stock, 2019).

In our May-June issue (out now!), Aliza Ma writes about the new film Olivier Assayas's Non-Fiction, a comedic portrait of a Paris literary set struggling to adapt to the digital age. Her essay begins, “In the cinema of Olivier Assayas, we find a laboratory of the world.” We had the good fortune to visit that laboratory in a new interview with the director. Film Comment contributor (and Curator of Film at the Museum of Moving Image) Eric Hynes sat down with Assayas for a conversation that expands on the ideas about technology and human relationships contained in Non-Fiction, and which bubble up throughout the director's movies, such as Irma Vep, Personal Shopper, and Le destinées. Non-Fiction is in theaters now, including at Film at Lincoln Center.

[O Mundo Está ao Contrário e Ninguém Reparou?] Esta semana, dois filmes em que personagens se descobrem em estranhas circunstâncias: a comédia francesa Vidas Duplas, de Olivier Assayas, e o thriller de ficção científica Durante a Tormenta, do espanhol Oriol Paulo. Antes disso, no Boletim de Cannes (4:30), trazemos algumas curiosidades sobre a maior mostra de cinema do mundo. O que esperar da competição deste ano, cuja lista de concorrentes foi divulgada na semana passada. Juliette Binoche volta à Varanda no novo filme de Assayas. Vidas Duplas (13:58), que estreou esta semana nos cinemas, é tema do episódio junto com o espanhol Durante a Tormenta (35:14), de Oriol Paulo, em cartaz na Netflix. No Puxadinho (1:02:23), outras dicas, como o novo filme de Jia Zhang-ke, Amor Até as Cinzas, o argentino O Anjo e o documentário/show da Beyoncé Homecoming. E tem o meu, o seu, o nosso Cantinho do Ouvinte. Bom podcast! E não deixe de participar da Enquete 1999 - 25 Filmes comemorando 20 anos, e ajude a escolher o filme que entrará em debate no link https://forms.gle/YVfbpMKafjoeW4WD6

Singer- songwriter Kasim Sulton is best known for his stint in Utopia along with Todd Rundgren, Roger Powell and Willie Wilcox. The addition of Sulton to the Utopia lineup in 1976 added a powerful singing voice that helped define the band’s sound as they evolved from a proggy collective to a tight four piece unit.Sulton provided the lead vocals for the band’s biggest commercial hit, “Set Me Free.” The band built a loyal following of Utopians during their ten years together, an era that produced eight studio albums and saw the band criss-cross the country every year.In 2017, Sulton formed Kasim Sulton’s Utopia, for a series of sold-out shows featuring songs from the classic four piece lineup of the band. Kasim is bringing the shows out again, this time with Gil Assayas on keyboards, who toured last year as part of Todd Rundgren’s Utopia.Kasim’s work goes well beyond Utopia, and includes session and live work with Meat Loaf, Cheap Trick, Hall and Oates and Meat Loaf, just to name a few.Kasim continues to perform with Todd Rundgren, and finds time to record and perform solo material.When it comes to bringing people together, Kasim is one of the most accessible and fan-friendly artists around. A Facebook group, This must be love, named after an early solo song follows his career, and Kasim often interacts with fans, doing live Facebook events and video updates from the road on his own page.To contact the host: email thom@caroniamediagroup.com

FEATURED FILM FOR EPISODE D IS LAMBERTO BAVA'S 1985 FILM "DEMONS" CLIPS AND TRAILERS: http://blackarkmagazine.com/26mfha-2-2-2 Welcome to 26 MOVIES FROM HELL, a podcast dedicated to discussing, reviewing and shedding light on overlooked and underrated Cult, Horror, Experimental, 70’s Exploitation and just plain Strange movies. We start at ‘A’ and end at ‘Z’ and start all over again. The idea behind the series podcast is to get our guests and listeners involved with the selection process. Prior to each show, we will share Clips, Trailers and Movie info of the contenders,via Twitter at @26MFHPOD after which, we will put it to a vote and leave our film selection for the week in the hands of the gods… Here are the results for episode D: 17%Demonlover (2002 Assayas) 47%Demons (1985 Bava) 9%Deathdream (1974 Clark) 27%Dust Devil (1992 Stanley)   Our special guest for the show is the brilliant writer, director and illustrator Ricky Sprague. Ricky is a regular on the show, and not only is he a fine podcast guest, he also has lots of brilliant work of his own... links: Ricky Sprague Project Child Murdering Robot We would also like to thank our call in guests: DREW DIETSCH FROM GENRE VISION @DrewDietsch and ANDREW HAWKINS FROM FREAKY FANDOMS @mrandrewhawkins   SUPPORT, FOLLOW and SUBSCRIBE TO 26 MOVIES FROM HELL: https://twitter.com/26MFHPOD

con Alberto Pallotta, Daniele Di Gennaro, Domenico Di Noia

When Ralph Shuckett, the keys man for Utopia – the '70s and '80s progressive rock outfit led by American music great Todd Rundgren – bowed out of the band's Utopia reunion tour, one of Rundgren's sons suggested Assayas, who has been dazzling music fans as Glasys in his adopted home of Portland, Oregon. "We looked at his stuff on the Internet and were all blown away by how talented he was and how confident he seemed," Rundgren told Billboard magazine.

Nos reunimos tres integrantes de La Pantalla Invisible para debatir sobre las películas y series de 2017 que más nos han gustado (o disgustado). Un repaso ameno en el que viajamos desde Assayas hasta Lynch, pasando por un debate sobre los papeles femeninos en la ficción o una ronda final en la que repasamos gran parte de las películas que han aterrizado en las salas de cine en este año que se acaba. 01:30 - Personal Shopper 11:37 - Z, la ciudad perdida 22:28 - Star Wars: Los últimos Jedi 39:48 - The Leftovers 45:20 - Twin Peaks: The Return 51:55 - Mindhunter 1:03:30 - La importancia de la mujer en el cine & TV este 2017 1:34:10 - Estrenos de este año a reivindicar 1:45:34 - Ronda rápida comentando diferentes estrenos Puedes visitar nuestra web aquí: www.lapantallainvisible.com

This week on TIFF UN/CUT, hear a master class from the subject of a current retrospective. Something in the Air: The Cinema of Olivier Assayas traces the French auteur’s eclectic catalogue, from his early music videos for electro-pop stars Jacno and Winston Tong, to his documentary portrait of Taiwanese director Hou Hsiao-hsien, to his brilliant work in narrative film and his recent career-high collaborations with Kristen Stewart on CLOUDS OF SILS MARIA and PERSONAL SHOPPER, which have brought him even greater acclaim and a whole new audience. This week, you can catch Assayas’ first feature DISORDER, a portrait of France’s mid-’80s post-punk scene (and undoubtedly, a Joy Division reference), as well as his 2002 cyberthriller DEMONLOVER (which sports a score by Sonic Youth!). At the 2012 Toronto International Film Festival, where Assayas presented his film SOMETHING IN THE AIR — a youthful and semi-autobiographical portrait of young political activists living in a Parisian suburb in the early ‘70s — the director also participated in an onstage master class moderated by Brad Deane, Senior Manager of TIFF Cinematheque and programmer of the current Assayas retrospective. You’ll hear how Olivier’s screenwriter father made him think twice about making movies early on in his career, which Bresson films blew his mind, and why he never intended to be a film critic for Cahiers du Cinéma.

Christian and Ian have not, nor will they ever, return leather pants.  For this episode we discuss a couple of very different movies and announce the return of our Overkill series. We will be discussing every entry from a horror franchise in the near future and you can help us choose which series. Head over to our twitter (@ItsOnlyaPodcast) poll and vote for which franchise you'd like us to discuss. The options are- Nightmare on Elm Street, Night of the Living Dead, The Evil Dead, and Final Destination. For our new film review we discuss the arthouse thriller PERSONAL SHOPPER. For our Movie from the Crypt segment we discuss the pseudo sequel HELLO MARY LOU: PROM NIGHT 2. We also discuss swimming in chalkboards, explosion-less fireworks, and how mesmerizing it is to watch Kristen Stewart text.  #VoteOrDie We'd love to hear your thoughts, questions, or any requests you have. You can contact us at: ItsOnlyFeeback@gmail.com and on Facebook, Twitter, and Instagram. 

El D'A Film Festival de Barcelona arrenca el 27 d'abril amb prop de 90 pel

OLIVIER ASSAYAS PER 'PERSONAL SHOPPER'; ISABELLA FERRARI AL FESTIVAL DEL CINEMA EUROPERO DI LECCE; LORENZO PROCACCI AUTORE DEL LIBRO DI AFORISMI 'IL PENSATOIO'

This week's films run the gamut from the poignantly romantic to the perplexing and strange. Stevie and Emmet review British romantic drama (made by Danish director, Lone Scherfig), Their Finest starring Gemma Arterton, Sam Claflin and Bill Nighy. Set in 1940, the film follows Catrin Cole as she negotiates the man's world of propaganda films during wartime. Stevie then explains to Emmet why she's not sure about Olivier Assayas' Personal Shopper, a surreal vehicle for Kristen Stewart. Acclaimed by some, Stevie's not sure if it's brilliant or ordinary.  

We're back! This week, Julia joins Clint to discuss four new releases - Olivier Assayas' spooky Personal Shopper starring Kristen Stewart; James Gunn's bloody corporate satire The Belko Experiment; Julia Docournau's bloody coming-of-age cannibal horror flick Raw; and Ritesh Batra's contemplative British tragedy The Sense of an Ending, starring Jim Broadbent. Take a listen! 1:49 - Personal Shopper 10:05 - The Belko Experiment 17:02 - Raw 29:04 - The Sense of an Ending

This week on "Lady Problems," the MTV News podcast dedicated to pop culture's treatment of women, Hazel Cills and Teo Bugbee co-host alongside film critic Kristen Yoonsoo Kim. First, we talk about the new Olivier Assayas movie Personal Shopper, in which Kristen Stewart plays a personal shopper who may or may not sext with ghosts. Then we analyze Stewart’s career at large from the cringe-worthy Twilight to her first Assayas collaboration Clouds of Sils Maria and try to pinpoint exactly when she got so damn good at acting.  Find Rachel, Hazel, and Teo on Twitter and say hi, and call us up with your Lady Problems at 205-677-5239  — yes, that is 205-677-LADY, and if you think we’re not going to remind people of that every single week, then you must not know Lady Problems.

Olivier Assayas, last year’s winner of the Best Director award at Cannes, discusses his spooky new genre-defying film ‘Personal Shopper’ and Kristen Stewart’s high-fashion wardrobe. Plus: a look back at one of Assayas’ favourite ghost stories, 1961’s ‘The Innocents’.

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

Le réalisateur Olivier Assayas a fait ses armes comme critique de cinéma dans des revues comme Métal Hurlant, les Cahiers du cinéma ou Rock & Folk. Ses films s'imprègnent autant de littérature (Destinées Sentimentales) que de société (Apres Mai, sur la vie post mai 68). Indépendant, Assayas réalise des films en plusieurs langues et défie les normes avec un biopic de 5h30 sur le terroriste Carlos, projeté au Festival de Cannes en 2010 - et pour lequel Edgar Ramirez remporte la Palme du Jeune espoir masculin.  Culture Alt a rencontré ce réalisateur hors du commun pour parler de son dernier film, Personal Shopper, qui raconte l'histoire de Maureen (Kristen Stewart) en charge de la garde-robe d’une célébrité en attendant un signe de l'esprit de son frère jumeau, récemment décédé. Plus d'info sur www.culturealt.com

Welcome to a new episode of Trash Twins!  Thanks to everyone who came out to SPX and said hello to Katie or asked about Sarah.  The episode begins with some SPX talk.  Segues into a discussion of the comic book Stray Toasters by Bill Sienkiewicz.  Continues on with a discussion of the new “Phaedra(s)” play starring Isabelle Huppert.  Before concluding with a discussion of the Assayas movie Boarding Gate(2007) starring Asia Argento.  Also Sarah solves the Jonbenet Ramsey murder.  Spoiler alert.Intro music: Brian Eno- "I'll Come Running"Outro music: Sparks - "The Number One Song In Heaven" Next Episode: TAKASHI MIIKE (GOZU, ICHI THE KILLER, DEAD OR ALIVE) Email us at: talktrashtwins@gmail.com Follow us on Twitter: @trashtwins Tumblr: http://trashtwinspodcast.tumblr.com/ Read more at http://trashtwins.libsyn.com/#SOJsm8hLvve4ydtW.99  

In this 39th Oscar podcast, Gold Rush Gang member Júlia Albuquerque and I break down the winners and losers at this year's Cannes Film Festival awards ceremony where sometimes it was hard to tell the two apart.  We talk extensively about the role of "armchair" criticism of the festival and the jury's awards choices and how Cannes l'enfant terrible Xavier Dolan was able to walk away with his biggest prize yet for his worst reviewed film. Júlia also reminds us how before the festival started, jury member Arnaud Desplechin remarked that he wants to find this year's Mad Max and Son of Saul yet ended up picking Ken Loach's I, Daniel Blake for the top prize. To that effect, we talk about the post-ceremony jury press conference where they defend their choices, with Donald Sutherland and jury president George Miller doing most of the heavy lifting. Obviously we look at what films are the most likely to make it through the year to Oscar season success (hint: there's really only one). Of course, actress talk dominates much of the podcast with Sonia Braga and Isabelle Huppert holding court there as the two biggest predicted Actress potentials that both lost to Jaclyn Jose.  We end with what, if any, of the foreign language films might end up being Oscar submissions for individual countries.

La sexta jornada de Cannes 2016 ha estado marcada por el estreno de dos de las películas más esperadas de la Sección Oficial: 'Personal Shopper' de Oliver Assayas y 'Loving' de Jeff Nichols, la mejor carta del festival para llegar a la próxima edición de los Oscar. Completamos la jornada con dos títulos de Un Certain Regard: la singapurense 'Apprentice' y la estadounidense 'Hell or High Water'.

This week's two-part episode features French filmmaker Olivier Assayas. Special guests include actresses Juliette Binoche and Kristen Stewart, who co-star in his latest film, CLOUDS OF SILS MARIA, opening in theaters next weekend. CLOUDS OF SILS MARIA, a main-slate selection of last year’s New York Film Festival, stars Binoche as a veteran actress coming to terms with her life and career after agreeing to act in a revival of the play that made her famous 20 years earlier. Stewart plays her assistant, who accompanies her on a soul-searching journey through the Sils Maria region of the Swiss Alps. Assayas has been called the most innovative and influential French director of his generation, and his relationship to the New York Film Festival goes all the back to 1996, when his film IRMA VEP was included in that year’s festival. Preceding the official NYFF52 screening of Clouds of Sils Maria, Assayas joined Binoche and Stewart onstage for a conversation with press, moderated by the festival’s director of programming, Kent Jones. The discussion will serve as part one of today’s episode. Part two comes from 2004, when the director took the stage following a screening of his seminal 1996 film, IRMA VEP. That film stars Maggie Cheung as herself cast in an ill-fated production of a remake of Louis Feullade's classic silent film serial LES VAMPIRES. This fascinating conversation was also moderated by our own Kent Jones. This podcast is brought to you by The Film Society of Lincoln Center. Film Lives Here. www.filmlinc.com 00:00–02:13 - Intro 02:13–25:04 - Clouds of Sils Maria Press Conference 25:04–01:16:34 - Olivier Assayas Talk (2004)

In a continent dominated by American cinema, it can be easy to forget how essential Toronto is for cinephilia: home of the famed film festival, base of the idiosyncratic magazine Cinema Scope, and the city where critic Adam Nayman has been writing and teaching. Nayman's latest writing opus is It Doesn't Suck, a fantastic book tracing the evolution of Paul Verhoeven's Showgirls from bomb to camp to cult to classic. Peter sits down with Adam to discuss the book, as well as his work for publications like Scope and Reverse Shot, his view of Canadian cinema, and much more. Finally, the two examine the first film from Mia Hansen-Love, All Is Forgiven, and how a film with seemingly little ambition can contain a great depth of feeling. 0:00-1:17 Opening2:13-7:40 Establishing Shots - Blind Detective / Donations and Reviews8:25-59:00 Deep Focus - Adam Nayman59:44-1:09:09 It Doesn't Suck1:21:24-1:41:35 Double Exposure - All Is Forgiven (Mia Hansen-Love)1:41:42-1:43:32 Close / Outtake

Vi runder av årets Cannes-athon med en prat om nye filmer fra Cronenberg og Assayas.

Si chiude il concorso con gli ultimi due film: Sils Maria di Olivier Assayas, con Juliette Binoche attrice affermata che ritorna a recitare la piece teatrale che la lanciò, questa volta però fa la donna matura, e il suo personaggio va invece a una giovane stella di film di supereroi - Chloe Moretz. In questo confronto alla Eva contro Eva c'è una terza donna, la giovane Kristen Stewart assistente ombra della Binoche, che tutto risolve ma forse si coinvolge. E poi The Leviathan del regista siberiano Andrei Zvyagintsev (ricordate Il ritorno che vinse Venezia 2003?), dove il mostro biblico è il potere dello stato che vuole espropriare la casa di legno sul mare del nord, dove pure nuotano e ogni tanto spiaggiano le balene. E torna Quentin Tarantino a Cannes con Uma Thurman e John Travolta, per ripresentare 20 anni dopo Pulp Fiction.

Kent Jones is truly one of the most essential voices for Peter. His writings are reflective, intelligent, and complex in a way few writers come close to, and his other work—A Letter To Elia, the World Cinema Project, and the New York Film Festival—are key to Peter's continuing exposure to cinema. So Kent sits down with Peter to discuss his first exposure to cinema, his mentorship under Manny Farber and Martin Scorsese, his complicated process of writing, working on making films and using images, and the auteurs that continue to inspire him. The two then end with a conversation on the rarely seen Spawn of the North, a Henry Hathaway film with Henry Fonda that finds something very physical in its Alaskan set border town. 0:00-1:20 Opening2:47-8:47 Establishing Shots - John Ford's Young Mr. Lincoln / Donations9:32-1:16:20 Deep Focus - Kent Jones1:17:28-1:36:48 Double Exposure - Spawn of the North (Henry Hathaway)1:36:52-1:38:31 Close

Veckans Kino handlar om Tempo-aktuella The Act of Killing - en skrämmande dokumentär om ett folkmord. Regissören Joshua Oppenheimer berättar om hur han kom skrytsamma medlemmar från Indonesiska dödspatruller in på livet, och fick dem att iscensätta sina mord på film. Vi har träffat Olivier Assayas - bioaktuell med Efter revolutionen - som tycker att 70-talet är romantiserat och idealiseat. I hans film får man se sannningen! Gunnar Bolin rapporterar från den största och viktigaste afrikanska filmfestivalen - Fespaco i Ouagadougou i Burkina Faso. Och så har vi spårat upp en bifigur i den kultförklarade dokumentären Grey Gardens. Hur gick det egentligen sen för Jerry, tonårskillen som arbetade som alltiallo hos Big och Little Edie i den legendariska dokumentärfilmen. Programledare: Roger Wilson Producent: Thella Johnson I veckan drar dokumentärfestivalen Tempo igång i Stockholm, och en av festivalens bästa filmerär The Act of Killing, regisserad av Joshua Oppenheimer. Den absolut märkligaste och obehagligaste film vi på Kino sett på länge. The Act of Killing handlar om några av de män som var med i dödspatruller i Indonesien 1965, då man dödade totalt runt en miljon påstådda kommunister. Män som aldrig behövt konfronteras med det de gjort, utan tvärtom fortfarande hyllas som hjältar av dagens regim i Indonesien. som hjältar. Ett effektivt sätt att skrämma all opposition till tystnad - även idag. Men The Act of Killing har inte bara en angelägen historia. Formen den är berättad på liknar inget annat. I filmen får männen iscensätta det de varit med om. En del väljer att gestalta realistiska tortyr- och avrättningsscener. En annan bestämmer sig för att alla filmer behöver sång och dans, klär själv ut sig till en burlesk drag queen och är med i en dansuppvisning i djungeln. Den här processen hade ett syfte. Oppenheimer ville på något sätt konkretisera vad det är som gör folkmord möjligt. Och det genom att visa på den mänskliga sidan hos männen i dödspatrullerna. Kinos reporter Saman Bakhtiari har träffat regissören Joshua Oppenheimer. I förra veckan hade Efter Revolutionen av Olivier Assayas svensk biopremiär. Men regissören är inte helt nöjd med filmens svenska namn, eftersom han gör skillnad mellan revolt och revolution. Upproret i Paris 1968 var en revolt, åren efter det väntade alla på att revolutionen skulle komma. Den verkliga förändringen av samhället. Men inget hände. Efter revolutionen är Assayas sätt att rätta till den romantiska och förenklade bild av 70-talet som han tycker frodas idag. Lisa Bergström har träffat Assayas och pratat politik och konst och det missförstådda 70-talet. Just nu pågår Afrikas största och viktigaste filmfestival, Fespaco i Ouagadougou i Burkina Faso. Festivalen, som arrangeras vartannat år, är den stora mötesplatsen för den afrikanska filmindustrin. På plats är också Sveriges Radios kulturkorrespondent Gunnar Bolin som berättar om dagens filmupplevelser. Dokumentären Grey Gardens från 1975 nog en av de allra mest kultmärkta dokumentärer som någonsin gjorts. Och intresset verkar bara öka och öka. 2006 gjordes en musikalversion och 2009 spelade Jessica Lange och Drew Barrymore mor och dotter, big och little Edie i en spelfilm om Grey Gardens för kabelkanalen HBO. Det är något oemotståndligt med dokumentären från 1975, där man får följa Edie och Edie, excentriska överklasskvinnor som bori ett övervuxet kråkslott, bland kissande katter och högar av bråte. Och helt obekymrade av smutsen och förfallet håller de show framför kameran. Lite i bakgrunden finns också Jerry, en tonåring som rymt hemifrån och hittat en ny familj hos Edie och Edie. Nu, snart 40 år senare, är Jerry Torre själv ämnet för en nygjord dokumentär. Det upptäckte filmaren och journalisten Moa Geistrand när hon intervjuade den ena av Gray Gardens-regissörerna Albert Maysles på hans kontor i New York. Plötsligt fick hon - av en ren slump - träffa ett stycke levande filmhistoria som bonus. Och här är .