Sils Maria

Fantastic work from both Juliette Binoche and Kristen Stewart. The latter showed some more naturality in Still Alice and here she has a lot more screen time and is pretty great throughout. It's not an incredibly showy performance, though, not like Binoche's, but I could get behind it for awards love. Chloe Moretz's empty, superficial acting style actually works perfectly for her character here. I doubt it was really much work for her, but it works and she's not a distraction like she usually is. Juliette Binoche is amazing, as always. I could've seen her actually gaining traction for this film (had it been released near the end of the year). The film as a whole is... really weird. It's very entertaining throughout, never once dull, but it feels sort of aimless the more it goes on and while I get what points it was trying to make, it just felt a little too scattered to truly be great.

Rehearsing for a revival of the play that made her famous proves unexpectedly challenging for an esteemed actress in this French drama starring Juliette Binoche. While she knows all the dialogue, the difficulty is being asked to the play the older of the two protagonists (a la Michael Caine assuming the Laurence Olivier role in the remake of 'Sleuth'). Further tensions arise as the older protagonist is manipulated by the younger one in the play with Binoche wondering how close she may be to the older character. Fascinating as all this might sound, the film is nevertheless hard to get through at times with the plot not really taking off until 40 minutes in when Binoche views online clips of her bratty co-star to-be and tries to rehearse knowing what her co-star is like. At its best, the film blurs reality as Binoche and her personal assistant practise with it often ambiguous whether the pair are really fighting or simply rehearsing. There are also some memorable bits as the pair discuss whether science fiction dramas can have merit and the notion that "thinking about a text is different to living it", but these sparks unfortunately fizzle out before the film is over. As others have observed, the movie has a curious meta quality with Binoche playing an actress character very similar to herself, but the protracted first forty and final fifteen minutes oddly leads the film succeeding best in its middle section.

"In the play you all know, Maloya Snake, he gave me everything I need to build a career on, my career."

Olivier Assayas and Juliette Binoche reunite after their previous collaboration (Summer Hours) in this wonderful meta film that has some slight similarities to Birdman. This could be the female version of that movie although not as entertaining and without all the technical achievements. It is also a little more subtle in its approach. The story begins on a train as re-known actress, Maria Enders (Juliette Binoche) is heading to Zurich with her personal assistant, Valentine (Kristen Stewart) to receive an award on behalf of a dear friend, Wilhelm Melchior, who is the reason why she is now a famous actress. Twenty years ago, he offered her the role to play the lead character in the stage and later on in the film adaptation of that play. On their way to Zurich they receive the terrible news of his passing which deeply saddens her. After the ceremony Valentine arranged a meeting with Klaus (Lars Eidinger) who wants Maria to play the older character in his adaptation of Wilhelm's novel. She continues to identify with the strong younger character and doesn't feel its correct for her to play the weaker role of Helen, but ultimately she agrees to do it. The lead character will be played by the promising young actress Jo-Ann Ellis (Chloe Grace Moretz) who has had her share of scandals with paparazzi's recently. In order to prepare for the role, Maria and Valentine travel to Wilhelm's former home in Sils Maria surrounded by the gorgeous Alps. Here, Maria is forced to reflect on her career and come to terms with the fact that she's an aging actress.

Clouds of Sils Maria is another film that reminds us that life imitates art because we are always finding ways to express ourselves and the means to do so is through art. Maria is forced to come to terms with her reality through the acceptance of this character she's not thrilled about playing because she doesn't seem to understand her. There are several scenes in which she is rehearsing the lines with Valentine that kind of blur the line between fantasy and reality. There were moments in which i didn't know if they were actually arguing or if they were simply reading the lines of the play. Those scenes were memorable and unique and I believe are at the center of this film. There are also some great conversations between the two about art and blockbuster Hollywood movies portraying the opposing two point of views. The film is rich with strong female characters exploring art and life in a rather authentic way. Clouds of Sils Maria may not be for everyone because it is slow paced and some scenes can become tedious if you aren't a patient viewer, but I found it a rewarding experience and a solid exploration of the passage of time and coming to terms with it. The classical music score (Pachelbel's Canon in D Major) also gives the film a touch of class. The scenery is also beautiful and it makes each conversation all the more profound.

Juliette Binoche has always been a wonderful actress so it comes as no surprise that she deliver yet another solid and touching performance. The real question everyone had was whether or not Kristen Stewart could hold her own next to this talented actress. The two share a lot of screen time together and at no point did I feel that Binoche was eating up the screen. Stewart gives in my opinion the best performance of her career (and I did really like her in Camp X-Ray and Still Alice) and she truly shines here. She won the Cesar (France's version of the Oscars) for best supporting screenplay and she proves that with the right material she can deliver solid roles. Chloe Grace Moretz also delivers a strong performance despite not having much screen time. She's hilarious in the scenes where Maria looks up her name on the internet and we get clips of the scandals she's been involved in. All in all, this is a solid film exploring some interesting subjects with solid performances and a beautiful landscape.

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If you are a big fan of Magritte and Escher, of the writer Sebald, of Pirandello and Philip Glass and maybe the film "Koyaanisqatsi", I predict that you will love this film. If, on the other hand, you can't see the point of any of these and believe only in Aristotle's six elements of drama, there are many other excellent films you will like much better. It's a matter of taste.

In this film, writer/director Assayas deliberately blurs the distinctions between a number of levels. You start with people in the business of theatre and film: Marie Enders (Binoche), an experienced and celebrated actress, and Valentine (Stewart), her young, busy, competent personal assistant, and the people in Marie's past, living and dead.

Then there is the level of the characters in the play "The Maloja Snake" of twenty years ago, when Marie played the young and cruel Sigrid who loved and crushed her middle-aged employer, Helena. There is the level of the characters of the same play today, in which director Klaus Diesterweg (Lars Eidinger) hopes to recruit Marie to play Helena, possibly with a different take on the characters' motives and psychology, and in which Jo-Ann Ellis (Moritz) is eventually cast as Sigrid.

And there is also the level of the real human world, including events in the life of the real Kristen Stewart, which have striking parallels in the life of the fictional Ellis; the same seems to be true of Binoche and Enders, and I have read that "The Maloja Snake" is a parallel world version of Fassbinder's "The Bitter Tears of Petra von Kant".

Spanning all these levels are the the real Switzerland and its real mountains and clouds, including the real Maloja Snake, a cloud phenomenon which was the subject of a black-and-white short film in the 1920's which is excerpted in Assayas' film and which can be seen on YouTube. The Internet spans all these levels too, and all the characters in the film are busy with texting and Skyping and Googling and checking out and fixing their IMDb info.

And then the work of playing characters, of determining and managing emotions, of arguing about what really motivates real or fictional or play-within-a-play fictional characters, either within the industry of the creative arts or not, also bridges the levels. We are constantly aware of the analogies and reflections among Valentine - Maria, Sigrid - Helena, Jo-Ann - Maria, and so on. Readings of lines take place, in which you sometimes wonder what level you are on, and we see a lot of the details of the creative discussions which must go into the production of plays or for that matter, not incidentally, movies such as "Clouds of Sils Maria". If you get lazy and suspend your disbelief and allow yourself to mentally presume that "Clouds" is a comprehensible narrative of the real world, Assayas will bring you up short without any ceremony.

So, does that kind of thing strike you as artistically intriguing or intellectually exciting? If it does, see the movie. It will give you a lot to think about and appreciate and puzzle about and discuss afterward. (The Swiss tourist board will thank you also.) If it seems a bit dry and abstract, well, you are fairly warned.

We witnessed the kinetic energy of the Oscar-winning Birdman about an aging actor making a comeback on the Broadway stage. Now with the expert and engaging Clouds of Sils Maria we witness a middle-aged actress, Maria (Juliette Binoche), contend with both her 20-year return to the same play but as the older character and the energy of a personal assistant, Valentine (Kristen Stewart), that reminds Maria of time's passage and the changes in her profession.

Writer/director Olivier Assayas delights us with stunning camera work in an early sequence on the train;Hitchcock would love the camera and editing if you remember Strangers on a Train. Assayas also features the Alps with such loving cinematography you'll be booking a trip. Credit Yorick Le Saux for the editing and Marion Monnier for cinematography.

The heart of an excellent drama such as this is its words, the best way to convey the complex emotions each actress must display. Besides Binoche's up-close glamour, Kristin Stewart's sassy, dark beauty is there to remind us that youth rules.

The screenplay offers advice about the changing nature of dynamic dialogue: "The text is like an object. It's gonna change perspective based on where you're standing." (Valentine). In the case of Maria and Valentine, the sometimes screwball-comedy-like repartee reveals layers of perception and emotion heightened by the fact that we are witnessing the deconstruction of the acting experience: Maria holds to classical interpretation while Valentine's thesis is that spontaneity and electricity are the key components.

The plot of Maria's accepting a stage role for a play she acted in 20 years ago as the young lead loosely parallels the scenario of this film (young assistant provoking the older actress) until a climactic moment on the mountain, a moment whose ambiguity will demand you complete the scene for yourself. Regardless, you will know you have seen one of the best films of the year depicting the rigorous working of the art of acting given by two of the best actresses today in film (Stewart won a Cesar for this role, Binoche won an Oscar for English Patient, and a mature Chloe Grace Moretz is sure to be Oscar nominated soon!).