Podcast appearances and mentions of Olivier Assayas

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.

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

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

Berlinalen 2024: I denne andre podkastpraten fra filmfestivalen i Berlin kaster vi et blikk på et knippe ulike filmer, fra Atlantique-regissør Mati Diops nye film Dahomey – som lørdag kveld vant Gullbjørnen – til Olivier Assayas' pandemifilm og noen høydepunkter fra Generation-seksjonen. I vår første rapport fra årets Berlinale (hør episoden her) kikket vi nærmere på noen av de norske bidragene som har blitt vist i kinosalene på Potsdamer Platz, så i denne episoden løfter vi perspektivet og ser på en bred bukett av ganske ulike festivaloppdagelser. I tillegg til titlene nevnt ovenfor snakker vi også i starten av episoden om Tilman Singers grøsser Cuckoo, som ble vist utenfor konkurranse som en av Berlinalens Special Gala-presentasjoner, med Euphoria-sjernen Hunter Schafer i hovedrollen. For puritanerne kan vi varsle at panelet går litt inn på plottet i filmen, så for alle som ønsker å se Cuckoo uten å vite noe, kan man spole forbi og frem til ca. 8 minutter ut i episoden. Ved mikrofonene sitter Lars Ole Kristiansen, Pernille Middelthon og Simon Holm. God lytting!

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.

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.  

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. 

Cade and Diane are joined by filmmaker and actor Luca Silver to discuss two Olivier Assayas-directed films starring Kristen Stewart: Personal Shopper (2016) and Clouds of Sils Maria (2014). Watch the video version at: YouTube.com/@CadeThomas/streams Check out Luca's YouTube channel here: YouTube.com/@lucasilver2240 Donate to Hidden Flora's Indiegogo here: indiegogo.com/projects/hidden-flora-queer-romantic-dramedy-feature-film# Double Feature Movie Club is a weekly movie review show with a retro vibe. Two movies. Three people. One rambling conversation. Each film is our first time watching them. We often go off-topic. 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. Clouds of Sils Maria is a 2014 psychological drama film written and directed by Olivier Assayas, and starring Juliette Binoche, Kristen Stewart, and Chloë Grace Moretz. The film follows an established middle-aged actress (Binoche) who is cast as the older lover in a romantic lesbian drama opposite an upstart young starlet (Moretz). She is overcome with personal insecurities and professional jealousies—all while sexual tension simmers between her and her personal assistant (Stewart). The screenplay was written with Binoche in mind and incorporates elements from her life into the plot.

This week Josh and Dru discuss the artiest of arthouse horror, Olivier Assayas's Personal Shopper. From Wiki: "Personal Shopper is a 2016 supernatural psychological thriller film written and directed by Olivier Assayas.[2] 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."But first! David O. Russell sucks so bad, and Dru discusses his horrifying legacy re: assaulting his trans niece. Plus the duo both watched and loved two new horror films: Ti West's Peal and and Zach Cregger's Barbarian. Both Drusilla and Josh love Personal Shopper and Kristen Stewart. They talk about fashion, fashion horror, beauty, and death in their ongoing exploration of glamorous horror films before playing, as always, Have They Seen It?Next week: Perfect Blue (with special guest) Website: http://www.bloodhauspod.com Twitter: https://twitter.com/BloodhausPodInstagram: https://www.instagram.com/bloodhauspod/Email: bloodhauspod@gmail.comDrusilla's art: https://www.sisterhydedesign.com/Drusilla's Instagram: https://www.instagram.com/hydesister/Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/Joshua's website: https://www.joshuaconkel.com/Joshua's Twitter: https://twitter.com/JoshuaConkel Joshua's Instagram: https://www.instagram.com/joshua_conkel/Joshua's Letterboxd: https://letterboxd.com/joshuaconkel/

the boys get into it this week discussing HBO's 2022 show Irma Vep by Olivier Assayas, based on the 1996 movie Irma Vep by Olivier Assayas, based on the 1916 serial show/movie Les Vampires by  Louis Feuillade. also covered this week: football's big gaunt boy Tom Brady, the new Game of Thrones, and A24's X  and Pearl. follow us on twitter @NFTalkingPodand thank you for listening!follow us on Twitter! @NFTalkingPod

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.

This week's podcast initially began as a sequel to our episode about Irma Vep from a few weeks ago, in which Adam Nayman and Beatrice Loayza joined us to discuss Olivier Assayas's new HBO series. We had only seen four episodes at the time, and we wanted to reconvene our guests, now that the miniseries has finished its run of eight episodes. But as we dug into the film-within-a-film rabbit holes of Irma Vep, its commentaries on auteurism and autofiction, and how it blurs the lines between reality, narrative, and fantasy, we realized that it echoed the themes of another series everyone has been talking about recently: The Rehearsal, by Nathan Fielder. So this episode brings you a double dose of meta: Irma Vep and The Rehearsal, and the ethics of making movies about oneself, other people, and movie-making itself.

Olivier Assayas regresa al personaje de su icónica película y nos demuestra que a veces regresar a obras clásicas puede dar buenos resultados. En esta edición comentamos la miniserie de HBO, Irma Vep. ¿No sabes qué series ver? El podcast “El Stream Mató al Cable” te ayuda a decidir, comentando las series más importantes de la nueva Edad Dorada de la TV (y el Stream). Encuéntranos también en: Facebook: www.facebook.com/streammatoalcable/ Twitter: www.twitter.com/PodcastEsmac

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. 

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

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

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.

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.

The cat suit was an aesthetic concept first ideated by the french filmmaker and actress Musidora. Since that first inception in 1915, many a movie heroine (or villainess) has donned the black, skin-tight image we come to see in IRMA VEP. But to focus on the physical beauty of its star (Maggie Cheung), is to miss the point (if not entirely).Theme Music "A Movie I'd Like to See" by Al Harley. Show Art: Cecily Brown Follow the Show @freshmoviepod YouTube Channel abreathoffreshmovie@gmail.com

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