Podcast appearances and mentions of Olivier Assayas

The Wizard of the Kremlin by Olivier Assayas in the 82° Venice competition marks the collaboration between actors Paul Dano and Jude Law The post “The Wizard of the Kremlin”, interview with actors Paul Dano and Jude Law appeared first on Fred Film Radio.

The Wizard of the Kremlin by Olivier Assayas in the 82° Venice competition marks the collaboration between actors Paul Dano and Jude Law The post “The Wizard of the Kremlin”, interview with actors Paul Dano and Jude Law appeared first on Fred Film Radio.

The Wizard of the Kremlin by Olivier Assayas in the 82° Venice competition marks the collaboration between actors Paul Dano and Jude Law The post “The Wizard of the Kremlin”, interview with actors Paul Dano and Jude Law appeared first on Fred Film Radio.

The Wizard of the Kremlin by Olivier Assayas in the 82° Venice competition marks the collaboration between actors Paul Dano and Jude Law The post “The Wizard of the Kremlin”, interview with actors Paul Dano and Jude Law appeared first on Fred Film Radio.

The Wizard of the Kremlin by Olivier Assayas in the 82° Venice competition marks the collaboration between actors Paul Dano and Jude Law The post “The Wizard of the Kremlin”, interview with actors Paul Dano and Jude Law appeared first on Fred Film Radio.

The Wizard of the Kremlin by Olivier Assayas in the 82° Venice competition marks the collaboration between actors Paul Dano and Jude Law The post “The Wizard of the Kremlin”, interview with actors Paul Dano and Jude Law appeared first on Fred Film Radio.

Vu politeschen Analyse vun eiser Welt bis zu engem minimalistische Familljen-Triptychon: De Marc Trappendreher ass weider fir eis zu Venedeg a verréit, wéi sech déi nei Filmer vum Olivier Assayas, der Kathryn Bigelow a vum Jim Jarmusch an der Competitioun schloen. Am Jarmusch sengem "Father Mother Sister Brother" spillt ënner anerem och d'Vicky Krieps mat.

This week, Film Comment is reporting from the picturesque shores of the Lido, where the Venice Film Festival takes place each year. This year's edition features new films by many major auteurs, including Noah Baumbach, Luca Guadagnino, Yorgos Lanthimos, Laura Poitras, and more. For our fifth episode from the city of canals, Film Comment Editor Devika Girish invited critics Savina Petkova and Jordan Mintzer to discuss Benny Safdie's The Smashing Machine (3:00), Lucrecia Martel's Nuestra Tierra (Landmarks) (18:26), and Olivier Assayas's The Wizard of Kremlin (31:49). Stay tuned for more Venice coverage, providing everything you need to know about the 2025 edition.

One of my favourite film critics Bilge Ebiri from Vulture joins me to talk about Olivier Assayas' The Wizard of the Kremlin, Kathryn Bigelow's A House of Dynamite, and Kaouther ben Hania's The Voice of Hind Rajab. Learn more about your ad choices. Visit megaphone.fm/adchoices

Llegamos ya al ecuador del Festrival de Venecia y Don Carlos Rollero sigue sin descanso viendo películas para traernos las crónicas más esperadas. Hoy habla de El mago del Kremlin de Olivier Assayas, que cuenta en su reparto con Paul Dano y Jude Law. También de Father, Mother, Sister, Brother de Jim Jarmusch con Tom Waits, Adam Driver, Charlotte Rampling y Cate Blanchett.

Tratto dall'omonimo romanzo di Giuliano da Empoli, sceneggiato da Emmanuel Carrère e diretto da Olivier Assayas, Il mago del Cremlino è un film che racconta l'ascesa al potere di Putin attraverso una riflessione sulla politica moderna.

Rüdiger Suchsland berichtet von zwei ausgezeichneten Filmen im Wettbewerb um den Goldenen Löwen. Olivier Assayas' "Le Mage du Kremlin" ("Der Magier im Kreml") und die "Frankenstein"-Neuverfilmung vom Mexikaner Guillermo del Toro ("Pan's Labyrinth") haben bei aller Verschiedenheit eines gemeinsam: Sie handeln vom Monströsen und sie brechen mit konventionellen Erwartungen.

Par Rafael Wolf et Thomas Gerber Pris au piège – Caught Stealing de Darren Aronofsky, avec Austin Butler, Zoë Kravitz, Regina King. Valeur sentimentale de Joachim Trier, avec Renate Reinsve, Stellan Skarsgard, Elle Fanning. Alpha de Julia Ducournau, avec Tahar Rahim, Golshifteh Farahani, Mélissa Boros. Les conseils : La guerre des Rose (1990) de Danny De Vito, avec Kathleen Turner, Michael Douglas, Danny De Vito, (en DVD et Blu-ray et sur certaines plateformes.) Sils Maria dʹOlivier Assayas, avec Juliette Binoche, Kristen Stewart, (en DVD et Blu-ray, et sur certaines plateformes.)

Memento #304. Qui ens havia de dir, quan triomfava entre el p

A Friss Hús fesztiválos gonzó podcastsorozat negyedik részében beszélgetünk a Cannes-t is megjárt The Spectacle (magyar címe: No. 3) rendezőjével, aki elismeri, hogy amúgy esze ágában sem lenne kisfilmet rendezni, de még az is jobb, mint megőrülni, illetve Zseni Mártonnal, akinek a Majdnem című filmje egyszerre hangolta le és villanyozta fel riporterünket, azaz engem. Bejelentkezik továbbá a fesztiváligazgató Deák Dani is, hogy elmesélje milyen szuper programokról maradtunk le szombaton és milyen szuper programokra mehetünk el még vasárnap.Itt lehet elolvasni Kenyeres Bálint interjúját Tarr Bélával, ez pedig itt az a 19 évvel ezelőtti Olivier Assayas-interjúm, amit valamiért folyton emlegetek mostanában. Cserhalmi Györggyel itt beszélgettem az álombéli repülésről.Készítette: Varga FerencZene: Hegyi OlivérJó szórakozást az adáshoz, és ha tetszik, kérlek⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠támogasd a Filmklub podcastot a Patreonon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, egy dollár is nagy segítség! Ha a Patreon túl macerás, támogathatod a podcastot a PayPalon (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ferencv1976⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) vagy a Revoluton (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ferenc7drh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) keresztül is. Nagyon köszönöm!

En 2008, Daniele Kemp avait rencontré Olivier Assayas pour parler de L'heure d'été, un film qui explore avec délicatesse les liens familiaux, la mémoire et la transmission à travers l'art, les objets et la maison comme miroir du temps qui passe.

Welcome to The B-Side! Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones that they made in between.  It's a day to celebrate! We discuss the legend Maggie Cheung! Our B-Sides include Lost Romance (a.k.a. Story of Rose), Full Moon in New York, Green Snake, and Sausalito. Our esteemed guest for this episode is Nick Newman, host of the Emulsion podcast for The Film Stage. We talk about the Hong Kong New Wave, Maggie's aborted performance in Inglourious Basterds, the true B-Sidey-Ness of Sausalito, and Maggie Cheung's brief, lovely, recent Sight and Sound interview. There's also Nick's Sight and Sound List, that GQ piece, Julia Ormond's tackling a famous Audrey Hepburn role, and Nick's great interview with filmmaker Olivier Assayas back in 2022. By 2004, at the young age of forty, Cheung retired from acting. Her legacy has only cemented further in the decades since her final films, something we discuss in this episode as well.

Welcome to The B-Side! Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones that they made in between. It's a day to celebrate! We discuss the legend Maggie Cheung! Our B-Sides include Lost Romance (a.k.a. Story of Rose), Full Moon in New York, Green Snake, and Sausalito. Our esteemed guest for this episode is Nick Newman, host of the Emulsion podcast for The Film Stage. We talk about the Hong Kong New Wave, Maggie's aborted performance in Inglourious Basterds, the true B-Sidey-Ness of Sausalito, and Maggie Cheung's brief, lovely, recent Sight and Sound interview. There's also Nick's Sight and Sound List, that GQ piece, Julia Ormond's tackling a famous Audrey Hepburn role, and Nick's great interview with filmmaker Olivier Assayas back in 2022. By 2004, at the young age of forty, Cheung retired from acting. Her legacy has only cemented further in the decades since her final films, something we discuss in this episode as well. Be sure to subscribe at thefilmstage.com/pod and give us a follow on Bluesky at @tfsbside.bsky.social. Enjoy!

We finally bring the brilliant, indelible work of Claire Denis to the pod with a discussion of her 1994 TV movie U.S. Go Home. Produced as part of the anthology series Tous les garcons et les filles de leur age… alongside work from other French visionaries like Chantal Akerman, Olivier Assayas and André Téchiné, Denis' film is an elliptical, compassionate coming-of-age story that regularly subverts expectations and never succumbs to the potentially regressive tendencies of its narrative milieu. We begin with some chatter about recent Hit Factory-featured filmmaker Edward Yang and a recent watch of his final work, Yi Yi. Then, we explore Denis' film - its lyrical formalism, its exquisite soundtrack - and how she crafts a work of simultaneously keen observation and hypnotic ambiguity. Watch U.S. Go Home on YouTubeThe Roxie theater in San Francisco is still seeking funds to help buy their building! Be sure to listen to our recent conversation with producer and Roxie board member Henry S. Rosenthal and visit the Roxie website to donate today!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

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

In this episode, we kick off the month of February with the self-aware indie satire from 1996, "Irma Vep", written and directed by Olivier Assayas and starring Maggie Cheung as herself! Listen now!

Her hafta Canlı Yayında sinema ve televizyon gündemini konuşuyoruz, ilgimizi çeken konuları tartışıyoruz.00:00 | Giriş01:25 | 2025'teyiz08:05 | Squid Game 2. Sezon Beklentiler11:18 | Altın&Bozuk Yoğurt Ödülleri ve Tepkiler19:45 | Kaan Gladyatör 2'ye Sinirlendi22:58 | Wicked25:20 | Mufasa: The Lion King30:50 | A Real Pain35:08 | Rumours 36:55 | Armand 49:15 | En İyi 10 Erotik Gerilim 1:16:40 | Global Netflix, Türkiye'yi Örnek Alıyor!1:19:45 | Fincher'ın Harry Potter Projesi1:23:20 | Metrodaki Squid Game Tanıtımı1:29:16 | Obama ile Hasan'ın Ortak Filmi1:30:45 | Nosferatu'nun Açılış Rakamları1:31:35 | Severance'ın İnanılmaz Bütçesi1:35:00 | Independent: 21. Yüzyılın En İyi 60 Oyuncusu1:41:20 | Olivier Assayas'ın Yeni Filmi1:42:35 | Susan Sontag Biyografisi Geliyor1:49:25 | Ev Köşesi: Sahip Olmaktan Memnun Olduğumuz Şeyler 

Steve McQueen es uno de los autores clave del cine del siglo XXI. Con títulos como 'Shame', '12 años de esclavitud' o la serie 'Small Axe', el británico siempre ha tenido una mirada política al cuerpo y la historia. Ahora ambienta en la Segunda Guerra Mundial su nueva película, un drama sobre una madre y un hijo que protagoniza Saoirse Ronan. Es uno de los estrenos destacados de la semana, pero además tenemos el musical 'Wicked', la comedia de Olivier Assayas, el thriller de Gerardo Herrero y nuevas series para un buen maratón.

Nights' resident screen critic Dan Slevin joins Emile Donovan to chat about Irma Vep a television show from show acclaimed French director Olivier Assayas, A Mistake the first feature film in 16 years from New Zealand director Christine Jeffs and a new streaming service containing all the documentary television made by the late John Pilger from 1970 to 2019.

Chad goes full dad in this mini-episode on Richard Linklater's 2014 coming-of-age epic Boyhood. Specifically, the plural meanings of Patricia Arquette's anguished move-out speech, and why raising children to lead their own lives is a bittersweet success. The Bright Wall/Dark Room Podcast is co-hosted by Veronica Fitzpatrick and Chad Perman and produced and edited by Eli Sands. Our theme music is composed by Chad. --- This episode is sponsored by Galerie, where you can join Veronica & Chad for a watch party this Sunday, August 18 at 3pm ET/12pm PT. We'll be hosting a viewing of Olivier Assayas' ⁠Clouds of Sils Maria⁠, with live commentary and conversation, and would love to have you stop by and say hello! (BW/DR listeners can currently sign up for three months of free access to Galerie ⁠here⁠.)

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.

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.

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/  

Do not take your phone off Airplane mode because we're heading to Paris to discuss Olivier Assayas' Personal Shopper (2016). Helping us sift through this fascinating, dense film is Trace's better half (and frequent returning guest) Ari Drew! Join us as we heap all the praise on Kristen Stewart before diving into all things supernatural (and technology!), linking the film to the recent wave of liminal horror films. Plus: Joe "raps" (yes, really), fade-outs galore, the necessity of on-screen nudity, silly conversations about gorillas and one of the scariest scenes to come out of the 2010s. References: > Katie Barnett. Invisible presences: The Elusive Twin and the Empty Screen in Personal Shopper. Revenant: Critical and creative studies of the supernatural. Revenant Journal. Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group to get in touch with other listeners > Trace: @tracedthurman > Joe: @bstolemyremote > Rachel: @RachelSafety / @twodykesandamic Be sure to support the boys on Patreon!  Theme Music: Alexander Nakarada Learn more about your ad choices. Visit megaphone.fm/adchoices

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 here to stay up-to-date. On today's episode, our fifth from Berlin, FC Editor Devika Girish is joined by critics Ela Bittencourt and Frédéric Jaeger to talk about their recent viewing, with a focus on the German cinema at this year's edition. They discuss Eva Trobisch Ivo, Julia von Heinz's Treasure, and Andreas Dresen's From Hilde, with Love, among others, before turning to a selection of films directed by women, including a retrospective of films by Helke Sander, and new films including Christine Angot's A Family, Nele Wohlatz's Sleep with Your Eyes Open, and Anja Salomonowitz's Sleeping with a Tiger. Stay up to date with all of our Berlinale coverage here: https://www.filmcomment.com/blog/category/festivals/berlin/

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 here to stay up-to-date. On today's episode, our fourth from Berlin, FC Editor Devika Girish is joined by an international cadre of programmers and critics made up of Jonathan Ali, Frédéric Jaeger, and Antoine Thirion to talk about Nelson Carlos De Los Santos Arias's Pepe, Hong Sangsoo's A Traveler's Needs, Malaury Eloi Paisley's L'homme-vertige, Dag Johan Haugerud's Sex, Victor Kossakovsky's Architecton, and Guillaume Cailleau and Ben Russell's Direct Action. As if that weren't enough! This episode also features a special, short interview by FC Publisher (and President of Film at Lincoln Center) Lesli Klainberg with super-producer Christine Vachon of Killer Films, the production company behind two standout hits of 2023, Past Lives and May December. The two dig into the contemporary and historical importance of the Berlinale for American independent film and how Christine is able to adapt her business to ongoing changes in the industry. Stay up to date with all of our Berlinale 2024 coverage here: https://www.filmcomment.com/blog/category/festivals/berlin/berlin-2024/

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 here to stay up-to-date. On today's episode, our second from Berlin, FC Editor Devika Girish is joined by critics Erika Balsom, Giovanni Marchini Camia, and Beatrice Loayza to talk about the political situation in Germany and how it's affecting the festival, before digging into films including Basel Adra, Hamdan Ballal, Yuval Abraham, and Rachel Szor's No Other Land, Dimitris Athiridis' exergue – on documenta 14, Bruno Dumont's The Empire, Ruth Beckermann's Favoriten, and Diop's Dahomey. Stay up to date with all of our Berlinale coverage here: https://www.filmcomment.com/blog/category/festivals/berlin/

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.

L'humoriste et actrice, âgée de 40 ans, nous reçoit chez elle, au cœur du onzième arrondissement à Paris, à l'occasion du lancement de son tout nouveau one woman show.Nora Hamzawi évoque son enfance dans le seizième arrondissement, auprès d'une mère branchée férue d'art et d'une frère et d'une sœur dont elle se sent proche. Son père, Syrien, est décédé quand elle était très jeune. Très vite, elle est fascinée par les femmes, leurs dysfonctionnements, leur liberté et fantasme sa vie d'adulte. Elle se passionne pour la figure de l'extraterrestre, E.T. notamment, Britney Spears, la série « Beverly Hills » ou les vêtements moulants et plus tard Sophie Calle et « Seinfeld » qui lui ouvrent la possibilité de se raconter. Elle aborde sa manière d'aborder l'écriture et la scène, sa volonté de se confronter aux normes et aux injonctions. Côté cinéma, elle loue « Anatomie d'une chute » de Justine Triet, son « film préféré des dix dernières années », « Jeanne Dielman » de Chantal Ackerman et Olivier Assayas avec qui elle adore tourner. Nora Hamzawi, qui a pris très tôt des antidépresseurs, se confie également sur son attraction pour les médicaments.Elle revient, enfin, longuement sur son amour de la bande dessinée : « J'ai une bibliothèque sur mesure chez moi pour les ranger. J'adore les mangas “Histoires de Kisaeng” ou “Chiisakobe”. J'aime beaucoup les livres de Pénélope Bagieu, de Taniguchi. Et ça, “Hyperbole”, d'Allie Brosh. Elle raconte ses névroses, son rapport à son chien, à la vie, la dépression. C'est génial. »Depuis cinq saisons, la journaliste et productrice Géraldine Sarratia interroge la construction et les méandres du goût d'une personnalité. Qu'ils ou elles soient créateurs, artistes, cuisiniers ou intellectuels, tous convoquent leurs souvenirs d'enfance, tous évoquent la dimension sociale et culturelle de la construction d'un corpus de goûts, d'un ensemble de valeurs.Un podcast produit et présenté par Géraldine Sarratia (Genre idéal) préparé avec l'aide de Diane Lisarelli et Johanna SebanRéalisation : Guillaume GiraultMusique : Gotan Project

At the heart of the three-day exhibition Manchestermodern: past present future, curated by Factory International and CHAOS SixtyNine with the support of CHANEL, a special edition of the Rendez-vous littéraires rue Cambon [Literary Rendezvous at Rue Cambon] was held at the Victoria Baths in Manchester.In conversation with writer and critic Erica Wagner, author Jeanette Winterson, CHANEL ambassador and spokesperson Charlotte Casiraghi along with actress and CHANEL ambassador Kristen Stewart reveal what constitutes, according to them, the powers of literature. Together, they also talk about the books that are dear to them and the female literary figures who inspire them.© 2023 by Cities of Literature. All rights reserved.© 2023 Manchester Literature Festival. All rights reserved.© Jeanette Winterson. All rights reserved.Jeanette Winterson, Oranges Are Not the Only Fruit, © Grove Press, 1997.Jeanette Winterson, Oranges Are Not the Only Fruit, Vintage, 1997.Jeanette Winterson, The Passion, © Grove Press, 1997. Jeanette Winterson, The Passion, Vintage, 1997.Jeanette Winterson, Frankissstein: A Love Story, © Grove Press, 2019. Jeanette Winterson, Frankissstein: A Love Story, Vintage, 2019.Jeanette Winterson, 12 Bytes, © Grove Press, 2021. Jeanette Winterson, 12 Bytes, Vintage, 2021.Jeanette Winterson, Night Side of the River: Ghost Stories, © Grove Press, 2023.Jeanette Winterson, Night Side of the River: Ghost Stories, Vintage, 2023.© UK Honours System.© University of Oxford. All rights reserved.© The University of Manchester.© Toronto International Film Festival. All rights reserved.Into the Wild, © Paramount, 2007. Courtesy of River Road Entertainment, LLC.PANIC ROOM © 2002 Columbia Pictures Industries, Inc. All Rights Reserved. Courtesy of Columbia PicturesCatherine Hardwicke, Bill Condon, Chris Weitz, David Slade, Twilight, © Summit Entertainment, 2008-2012. All rights reserved.Pablo Larrain, Spencer, © Shoebox Films, 2021. A Fabula, Komplizen, Shoebox Films Production, 2021.© Academy of Motion Picture Arts and Sciences. All rights reserved.© Académie des Césars. All rights reserved.Olivier Assayas, Clouds of Sils Maria, © CG Cinéma, 2014.Kristen Stewart, The Chronology of Water, © Scott Free Productions. All rights reserved. Jeanette Winterson, Why Be Happy When You Could Be Normal?, Vintage, 2012.Jeanette Winterson, Why Be Happy When You Could Be Normal?, © Grove Press, 2012. Kate Zambreno, Heroines, © Semiotext(e), 2012.© Theatre Royal Stratford East.© ITN / Getty images.Shelagh Delaney, A Taste of Honey, © Grove Press, 1994. Virginia Woolf, A Room of One's Own, 1929.Virginia Woolf, Orlando, 1928.

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!

To celebrate the launch of Living for the Dead, Kristen Stewart's new gay ghost-hunter show, we're checking out her first experience with non-vampire paranormal activity, Personal Shopper. Dir. Olivier Assayas. Starring Kristen Stewart, Lars Eidinger, and a bunch of brilliant European actors rarely seen on US screens. That's So Gothic releases episodes on the first and third Thursday every month. Email sogothicpod@gmail.com. Follow Chance and Amanda on Letterboxd @mrchancelee and @mcavoy_amanda. Instagram @sogothicpod Closing music "Gothic Guitar" by Javolenus 2014- Licensed under Creative Commons Attribution Noncommercial (3.0)

In this episode of Drive-In Double Feature Podcast, hosts Nathan and Ryan dive into the enigmatic world of "Demonlover" (2002), directed by Olivier Assayas. Join them as they navigate the treacherous terrain of corporate espionage, internet pornography, and the eerie convergence of reality and virtual reality in this psychological thriller. They explore the film's complex narrative, its provocative exploration of voyeurism and exploitation, and its impact on the world of cinema. Delve into the dark side of the digital age with Nathan and Ryan as they dissect the layers of deception and intrigue in "Demonlover."

➜ La Newsletter de TheBoldWay : https://www.theboldway.fr/newsletter Plongez dans l'univers passionnant de Charles Gillibert, un producteur de films au parcours audacieux, à travers ce nouvel épisode inédit. De la création de sa propre société de production à 17 ans à sa collaboration avec le prestigieux MK2, Charles partage sa vision unique du cinéma et dévoile les secrets de la production cinématographique. En 2013, il marque un tournant en fondant la société de production CG Cinéma, qui a été derrière la production de nombreux films français à succès. Il a produit des films prestigieux tels que "Mustang" de Deniz Gamze Ergüven, qui a été nommé pour l'Oscar du meilleur film en langue étrangère, ou encore “Annette”, de Leos Carax qui a ouvert le Festival de Cannes en 2021 et a remporté de nombreux prix. En dévoilant comment il a joué un rôle clé dans le lancement de films acclamés et comment il a navigué dans le paysage cinématographique en constante évolution, Charles Gillibert offre un aperçu précieux de son métier de producteur. Que vous aspiriez à entrer dans le monde du cinéma ou que vous soyez simplement curieux des coulisses de la création cinématographique, cet épisode est fait pour vous. ➜ Retrouvez toutes les références et les photos prises lors de l'enregistrement sur www.theboldway.fr Ce que vous allez apprendre dans cet épisode : Le parcours professionnel de Charles Les origines et motivations de son parcours Ses débuts chez MK2 et ses apprentissages avec MK2 Productions La genèse de CG Cinéma Les difficultés rencontrées Comment produire un film et orchestrer le lancement L'histoire du lancement de "Mustang" et d”Annette” L'acquisition de Losange Productions L'histoire derrière "L'Entrepôt" Son rapport au succès Sa gestion de son temps et son rapport à la confiance en soi Ses conseils pour produire son premier film Qui il souhaiterait entendre dans ce podcast Références : Personnalités : Nathanaël Karmitz : Fils du fondateur du Mk2 et associé de Charles Fabrice Gobert : Réalisateur de Revenants qui a participé au Prix Kieslowski Jeff Mills : Pionnier de la musique techno qui a composé pour de nombreux films Nathalie Vallois : Galeriste à la Galerie Georges-Philippe & Nathalie Vallois, rue de Seine Olivier Assayas : Réalisateur de Sils Maria produit par CG Cinéma et L'heure d'été produit par MK2 Productions Leos Carax : Réalisateur français Xavier Dolan : Réalisateur québécois Elsa Keslassy : Rédactrice en chef de Variety Jean Eustache : Réalisateur français de la Nouvelle Vague Alexis Dantec : Producteur de films et directeur de Les Films du Losange avec Charles Gillibert Barbet Schroeder, Éric Rohmer : Fondateurs de Losange Production Stéphane Magnan : Associé de Charles pour l'Entrepôt Leïla Slimani : Journaliste et écrivaine qu'il souhaiterait entendre dans ce podcast Sociétés de production : Nada : Société de production fondée par Charles Gillibert et Nathanaël Karmitz CG Cinéma : Société de production fondée par Charles Gillibert MK2 : Société de production, de distribution et ventes internationales de films, et d'exploitation de salles de cinémas, fondée en 1974 par Marin Karmitz Les Films du Losange : Société de production française, créée par Barbet Schroeder, Éric Rohmer et Pierre Cottrell en 1962, puis rachetée par Alexis Dantec et Charles Gillibert Films : Mustang : Film de Deniz Gamze Ergüven produit par GC Cinéma Annette : Film de Leos Carax produit par GC Cinéma La maman et la putain : Film de Jean Eustache produit par Les Films du Losange L'heure d'été : Film de Olivier Assayas produit par MK2 Productions On the road : Film de Walter Salles produit par MK2 Productions Sils Maria : Film de Olivier Assayas produit par GC Cinéma Festivals et prix : Prix Kieslowski : Concour fondé par Charles Gillibert et Nathanaël Karmitz Festival de Cannes : Festival de cinéma international Les Césars : Récompenses cinématographiques françaises Festival international du film de Toronto : Festival de cinéma annuel non-compétitif qui se tient en septembre à Toronto Autre : Troublemakers : groupe de musique électronique français Entrepôt : Complexe de salles de cinéma français, abritant un restaurant, une salle de concert et une galerie d'exposition, situé à Paris 14e. Maison Chanel : Habilleur officiel des actrices du film Mustang au Festival de Cannes CNC : Centre national du cinéma et de l'image animée TheBoldWay ou The Bold Way, anciennement connu sous le nom de Entreprendre dans la mode ou EDLM, est un podcast produit et réalisé par Adrien Garcia.

A classic episode (utterly classic) episode released from behind the Patreon paywall. Savor it like some kind of a savory soup. Hosts John Cribbs & Christopher Funderburg are joined by Marcus Pinn of Pinnland Empire as well as Calgary's own Carly Schmidt to discuss the new film from Olivier Assayas, NON-FICTION.

Boomer, Brandon, and Alli discuss Olivier Assayas's early-aughts hentai thriller Demonlover (2002) https://swampflix.com/ 00:00 Welcome 02:45 X (2022) 07:45 Dungeons & Dragons: Honor Among Thieves (2023) 11:45 Indiana Jones and the Dial of Destiny (2023) 15:25 Past Lives (2023) 24:08 Asteroid City (2023) 37:10 Ziggy Stardust and the Spiders from Mars (1979) 41:55 Demonlover (2002)

It's Hit Factory's third birthday, and you're invited to celebrate along with us! Join us as we count down our baker's Top Ten films from past episodes. Links To Episodes Mentioned Here:The Blair With ProjectRavenous feat. Matt MonagleLost Highway feat. Jonah KoslofskySafe feat. Catherine LiuThe Bridges of Madison County feat. Comrade YuiClose-Up feat. Roxana HadadiThe Game feat. Bilge EbiriSlacker feat. Robert RaymondThe Limey feat. Matt BelenkyIrma Vep feat. Brandon StreussnigCronos 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. 

Karen and Wynter have been seduced by Irma Vep, Olivier Assayas' “serialized” HBO Max revisitation of his own 1996 indie film of the same name starring screen goddess Maggie Cheung (his ex-wife). The two get into all the series' meta-narratives,, including Alicia Vikander as a modified K-Stew. Light SPOILERS. Karen is obsessed with #PREATH's (Christen Press and Tobin Heath's) sizzle on the ESPYs red carpet, while Wynter loves up on Nathan Fielder in The Rehearsal. (Where's our HBO Max sponsorship already?!) Are we or are we not “BASED”? Plus two songs of the week from the 80s, and info about KT's new food-related BoCo on our Patreon. 

Chris and Andy talk about the allegations that old episodes of ‘Stranger Things' are being reedited and the interesting possibilities it introduces for streaming television (1:00). Then they talk about the sweet animated movie ‘Marcel the Shell With Shoes On' (20:15), before Andy is joined by French filmmaker Olivier Assayas to talk about his decision to remake his 1996 movie ‘Irma Vep' into an eight-part miniseries (27:51). Hosts: Chris Ryan and Andy Greenwald Guest: Olivier Assayas Production: Kaya McMullen and Mike Wargon Learn more about your ad choices. Visit podcastchoices.com/adchoices

We've got three foreign language movies for you, but stick with us, don't leave! They're all fascinating. The first is Gaspar Noe's "Vortex," which we're both really, really into, and then there's Finnish "elevated horror" film "Hatching." Then we have a Reboot, the Olivier Assayas 1996 film "Irma Vep." Good stuff! Timestamps: 11:13 "Vortex" 37:24 "Hatching" 59:34 "Irma Vep" Thanks to Dylan Mayer and My Friend Mary, both of which are wonderful, for the music. We hope you enjoy. Let us know what you think @griersonleitch on Twitter, or griersonleitch@gmail.com. As always, give us a review on iTunes with the name of a movie you'd like us to review, and we'll discuss it on a later podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices