In the quarter-century since its debut, Olivier Assayas’ hilarious, mischievous, altogether unclassifiable Irma Vep stands merrily uninterested in many things contemporary movies are meant to be interested in—not ultra-sophisticated narrative gimmickry nor obsequious adherence to genre constraints nor even universality, the ability to speak at once to the interests and experiences of all audience members. Cinephiles, a group left ravenous this past year for very obvious reasons, remains the ideal and intended viewers for Irma Vep, which is being released by the Criterion Collection in a new, director-approved 2k digital restoration made from the original camera negative.
Irma Vep still has something of importance to say to those, like its writer-director, who care deeply about the movies and want to, perhaps, radically reorganize the priorities of the form by bringing its maddening contradictions to the fore. Assayas doesn’t offer any easy fixes to the troubles afflicting cinema circa...
Irma Vep still has something of importance to say to those, like its writer-director, who care deeply about the movies and want to, perhaps, radically reorganize the priorities of the form by bringing its maddening contradictions to the fore. Assayas doesn’t offer any easy fixes to the troubles afflicting cinema circa...
- 4/26/2021
- by Matthew Eng
- The Film Stage
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