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Though he has never had the kind of breakthrough hit that would guarantee a U.S. arthouse audience, Olivier Assayas has been one of the most interesting filmmakers of the last two decades. He's hard to pin down, shifting from small family dramas and chamber pieces that recall Bergman and Rohmer (Clouds of Sils Maria, Summer Hours) to international epics (the masterful Carlos) and weird genre-busting films, including the tech-paranoid Demonlover and the delirious Irma Vep, in which Hong Kong heroine Maggie Cheung (who later, briefly, became Assayas' wife) channels the villainess from the 1915 serial Les Vampires while her unstable director, Jean-Pierre Léaud, has a breakdown.…
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Though he has never had the kind of breakthrough hit that would guarantee a U.S. arthouse audience, Olivier Assayas has been one of the most interesting filmmakers of the last two decades. He's hard to pin down, shifting from small family dramas and chamber pieces that recall Bergman and Rohmer (Clouds of Sils Maria, Summer Hours) to international epics (the masterful Carlos) and weird genre-busting films, including the tech-paranoid Demonlover and the delirious Irma Vep, in which Hong Kong heroine Maggie Cheung (who later, briefly, became Assayas' wife) channels the villainess from the 1915 serial Les Vampires while her unstable director, Jean-Pierre Léaud, has a breakdown.…
