Tag Archives: Chloë Sevigny


No one sees anything. Ever. They watch, but they don’t understand. — Diane de Monx (Connie Nielson) 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 Film at Lincoln Center’s Virtual Cinema. See link below for details.


Written and directed by Olivier Assayas.

Film at Lincoln Center—Virtual Cinema

Now streaming.

Olivier Assayas, Demonlover (2002), from top: Connie Nielsen; Chloë Sevigny; Demonlover poster; Gina Gershon; Charles Berling; Demonlover. Images courtesy and © the filmmaker, MK2, and Janus Films.


I don’t want this movie to be as relevant as it is. But the scary thing is the movie becomes more and more relevant with every passing day. The script is almost a result of my trauma. I’m a black person in the world watching TV like everybody else. The work that artists are doing right now, this is us trying to put a time stamp on the society in which we live. It is a violent one. It is a cold one, and yet we still are stylish and we still are funny and we still love and we still smoke weed and we still do crab boils. Even in the midst of this trauma, we survive, we live, and that, to me, is what the real meditation of this movie became.Lena Waithe

Written by Waithe—from an idea by James Frey—and directed by Melina Matsoukas, QUEEN & SLIM opened this year’s AFI FEST and has gone on to ignite audiences across the country. Compared by critics to Bonnie and Clyde and Thelma and Louise—and by its writer to Set It Off—the film stars Jodie Turner-Smith and Daniel Kaluuya in the title roles, with backup by Bokeem Woodbine, Sturgill Simpson, Chloë Sevigny, Flea, and Indya Moore.


Now playing.

Alamo Drafthouse

700 West 7th Street, downtown Los Angeles.

L.A. Live

1000 West Olympic Boulevard, downtown Los Angeles.

Arclight Hollywood

6360 Sunset Boulevard, Los Angeles.

Laemmle Noho

5240 Lankershim Boulevard, North Hollywood.

Melina Matsoukas, Queen & Slim (2019), from top: Jodie Turner-Smith and Daniel Kaluuya; Turner-Smith; Kaluuya; Bokeem Woodbine and Indya Moore; Kaluuya and Turner Smith (2); Moore, Woodbine, Turner-Smith, and Kaluuya; Turner-Smith, and Kaluuya; Turner-Smith. Images courtesy and © the filmmaker, the actors, and Universal Pictures.


This week—in a co-presentation of the American Cinematheque and Beyond FestJim Jarmusch will present his new comedy THE DEAD DON’T DIE.

The film stars Bill Murray, Adam Driver, Chloë Sevigny, Tilda Swinton, Iggy Pop, Steve Buscemi, Tom Waits, Selena Gomez, Danny Glover, Caleb Landry Jones, and Carol Kane, and the director will be on hand for a post-screening Q & A.


Wednesday, June 5, at 7:30 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

The Dead Don’t Die, from top: Bill Murray (left), Chloë Sevigny, and Adam Driver; Iggy Pop; Selena Gomez; Murray; Tilda Swinton. Images courtesy the filmmaker and Focus Features.


“Love, jealousy, deficiency… no destination, and no hope for a clean getaway.”— Sam (Lily Rabe), on family life, in GOLDEN EXITS

The “golden exits” in Alex Ross Perry’s remarkable new film are the hoped-for high notes of departure members of a middle-class, middle-aged Brooklyn circle never quite manage to make. It would be nice to walk off into a golden hour sunset, but this group—the archivist Nick (Adam Horovitz), his wife Alyssa (Chloë Sevigny), his assistant Naomi (Emily Browning), among others—is stuck in perpetual, fascinating orbit around the townhouses, bars, pizzerias, and document-filled basements of Cobble Hill and Carroll Gardens.

Mary-Louise Parker—as Alyssa’s sister Gwen—plays her usual monster of quiet aggressions, and nobody does it better.


GOLDEN EXITS, through Thursday, February 22.

MONICA FILM CENTER, 1332 Second Street, Santa Monica.


See Nick Pinkerton’s Film Comment interview with Alex Ross Perry:


Mary-Louise Parker and Chloë Sevigny in Golden Exits (2017). Image credit: Vertical Entertainment/Stage 6 Films.

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PURPLE—the magazine Elein Fleiss and Olivier Zahm started twenty-five years ago in Paris—celebrates its anniversary this fall with a “25 Years 25 Covers” edition.

In the beginning there were several Purples—Purple Fiction, Purple Fashion, Purple Sexe, which eventually came together in one quarterly edition—but in 2004, PURPLE truly split in two, with Fleiss editing Purple Journal (and later Les Cahiers Purple and Les Chroniques Purple), and Zahm starting Purple Fashion, the current biannual.

Fleiss and Zahm are also the co-editors of the exhibition catalogue Elysian Fields (2000), and the collection Purple Anthology: Art Prose Fashion Music Architecture Sex (2008).

“Doing a luxury magazine today is one of the paradoxes of the Instagram era… A magazine is not an ego trip… It’s a collective work by a group of creative people who believe in the artistic value of the print media and share a similar vision…

“Every image, every single text, the choice of paper, the layout, even the choice of typefaces matters. Everything matters… PURPLE is made to last… to capture a moment every season… In this period of global internet obsession and digital amnesia, I think that means something.”— Olivier Zahm, editor’s letter.


Available at Book Soup on Sunset Strip, Skylight Books in Los Feliz, LACMA and MOCA bookshops, etc.

From top: Purple Autumn/Winter 2017–2018 covers, including a painting by Duncan Hannah, and Slick Woods in Chanel.

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