Acima das Nuvens

Former film critic Olivier Assayas is probably one of those few people who inspire me on a creative level. Not that strange if you consider one of Assayas' own influences: anarchist and situationist Guy Debord. French intellectuals in the 1960s were, in my opinion, too often needlessly complex theoretically and parlor socialists or would-be revolutionaries politically. In contrast, Debord's refreshing anarchist views were typical for the radicality of the 1968-generation and were more about individual freedom, artistic aspirations and fighting against a new form of determinism: consumption. In that respect, Assayas' Après mai was one of the best films I've seen in years. In Clouds of Sils Maria he puts on his meta-shoes and tells the story about an older actress who'll perform in the same play she did when she was young: Juliette Binoche plays Maria Enders who plays Helena. In the meanwhile Valentine (a brilliant Kristen Stewart, who would've expected?!), the personal assistant of Maria, resembles a version of Maria when she was young. Joanne Ellis (Chloë Grace Moretz), an up-and-coming actress with the reputation of a troublemaker, is Maria's co-star in the theater play. But when the play (about a young girl (Sigrid) who seduces an older woman (Helena)) starts to reflect reality (especially because Maria used to play Sigrid herself), the film begins to get an extra - metaphorical - layer. In the end we are confronted with thoughts about time, change, fame, getting older and conflict between generations. Clouds of Sils Maria is a beautiful film with some very good acting, especially by Stewart. It also raises interesting questions about contemporary stardom and transience. Nevertheless, this movie is (feels?) less personal than Assayas' previous one and therefor misses a bit of the uppercut I was hoping for.

"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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The enigmatic title refers to both a climatic phenomenon called the "Maloja snake", which occurs in the Engadinean alpine pass in Switzerland, and to a village at one end of a local lake. The village is the home of an elderly playwright who much earlier wrote a work called "The Maloja Snake" about the complicated relationship between a young woman in her late teens (Sigrid) and her middle-aged female employer (Helena). The film is all about the re staging of this play in which actress Maria who originally took the younger role to great acclaim has now been invited to portray the older woman in the new interpretation.

It is unusual, but a pleasing change, for a film to have all its leading roles taken by women. Superb French actress Juliette Binoche, whom I have admired since her early English-language work ("Damage" and "The English Patient"), is Maria, struggling to come to terms with her different role in the play. American actress Kristen Stewart is excellent in the secondary role as Maria's personal assistant Valentine and so different from her "Twilight" movies. The third role is taken by another young American, Chloë Grace Moretz, who is the actress taking over as Sigrid in the play - again a very different persona from the one we have seen before in the "Kick-Ass" movies.

This is a wordy work but the words matter. At times, we are not sure if the interaction between the two main personages is between Helena and Sigrid or between Maria and Valentine and even between Binoche and Stewart. In truth, there are elements of all three which is how subtle and nuanced is this German-French-Swiss co-production written and directed by the French Olivier Assayas. Ultimately this is a film, like near contemporary "Birdman", about acting but, however much the American Academy may have feted "Birdman", I found "Clouds Of Sils Maria" much more intelligible and engaging.

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.

I was very glad that i attended the opening ceremony of the Beirut International Film Festival with the presence of Juliette Binoche screening this touching movie! We're talking here about a festival movie so if you're not ready for a lot of talking scenes, well this is not for you! The story itself is brought by Binoche to director Olivier Assayas about an actress at the peak of her career who is asked again to play a role in a play that made her famous years ago! Let's be clear: this movie is all about stunning performances by a great Trio of actresses Binoche, Stewart and Moretz! Everyone was so great performing the characters. Binoche made it clear that this movie talk about her career and how can it be disturbed or touched emotionally on every level when she'll reach a certain age and when new generations of actors will rise! A must see for cinema lovers and especially for professional actors!