No one sees anything. Ever. They watch, but they don’t understand. — Diane de Monx (ConnieNielson) in Demonlover
The minute people started using the word “content,” it led to this idea of software versus hardware. The culture has shifted in favor of hardware. People are not on the side of art, which becomes content. They’re on the side of the computer. The computer embodies power. People have gotten used to the fact that they are ready to invest in the hardware… But they have a major problem paying very little money to buy a newspaper or a film. That’s the moment when art becomes content. — Olivier Assayas
The 2K restoration of Assayas’ unrated director’s cut of DEMONLOVER is streaming now in Filmat Lincoln Center’s Virtual Cinema. See link below for details.
To mark the release of NON-FICTION—the new film from Olivier Assayas—the American Cinematheque presents a double feature of Assayas’ 1996 cult film IRMAVEP and a 35mm presentation of his 2008 masterpiece SUMMER HOURS. Both screen on Thursday.
From top: Maggie Cheung in Irma Vep; Jérémie Renier (left) and Olivier Assayas on set, Summer Hours; Édith Scob and Juliette Binoche in Summer Hours; Renier, DominiqueReymond, and Charles Berling in Summer Hours; Jean-Pierre Léaud (right) and Cheung in Irma Vep.
In REINVENTING MARVIN, the prolific director Anne Fontaine and her co-writer Pierre Trividic start with the premise established by Édouard Louis’ autobiographical novel The End of Eddy—a besieged, effeminate boy (Jules Porier) growing up in rural northern France—and brings their protagonist (played as a young man by Finnegan Oldfield) to Paris, where he attempts to write and stage a one-man show with the help of a sugar daddy (Charles Berling), a theater director (Vincent Macaigne), and an actress (Isabelle Huppert, as herself).
This week, Outfest will present the Los Angeles premiere of this highly anticipated drama at the Directors Guild, with a post-screening reception.