It’s been this summer’s great pleasure watching Irma Vep. Maybe because the two years we’ve known about it have been marked by trepidation-tinged curiosity: Olivier Assayas revisiting his largely unimprovable 1996 film, Maggie Cheung here replaced by Alicia Vikander (from whom I’d never seen anything) for an eight-hour TV series. By the first episode’s end did I think all the right pieces were in play, but—speaking as one who’s now seen six—Irma Vep has only grown greater in scope, sharper in concept, and more tangent-happy in its panoptic view of the film industry.
There’s also the jaw-dropping autobiography-of-sorts, though Assayas will talk at greater length about intent and execution elsewhere. Below is our conversation pertaining to episodes one through four of Irma Vep.
The Film Stage: A character says that when Feuillade made Les Vampires he “was trying to represent something that...
There’s also the jaw-dropping autobiography-of-sorts, though Assayas will talk at greater length about intent and execution elsewhere. Below is our conversation pertaining to episodes one through four of Irma Vep.
The Film Stage: A character says that when Feuillade made Les Vampires he “was trying to represent something that...
- 6/27/2022
- by Nick Newman
- The Film Stage
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