“Emotionally, that can be quite tough.”Ĭreating a new female lead was important to Assayas from the beginning. “Even though I had very solid friends, until I met my husband and had my family that now comes with me, there was a constant feeling of being a nomad, and that kind of makes you feel like you don’t have roots anywhere,” she adds. It’s a problem that the actress (and new mum) knows well. “She’s in a place where she’s focused her entire life on jumping from city to city and job to job – and is probably trying to figure out who she is away from that world, away from being on a film set,” Vikander says. But unlike Cheung, who played a version of herself, Vikander plays Mira, an American actress keen to change the direction of her career – and shake off a recent tabloid scandal. (“Irma Vep” is a character, and her name, a clever anagram.) Helming the production is the brilliant but mercurial René Vidal, and as the chaotic shoot goes on, the lines between fact and fiction, actor and character, become dangerously blurred.
#How to scan on a canon image garden movie#
In this new version, like in the film, a major movie star signs on to lead an adaptation of Les Vampires, Louis Feuillade’s silent film serial from 1915-1916. You’re just there, you’re with your friends, you made a movie with no money, and you end up having pizza.” “It must be one of my best Cannes memories – it’s Cannes without the bullshit. So our screening was at midnight, and after the screening, 10 or 12 of us had dinner at the last pizza place open on the harbour,” Assayas says with a laugh.
“The film was not a big deal at the time except in the Chinese press, because Maggie was such a huge superstar. Yet its actual Cannes debut was a low-key, quite late-night affair. (It was also kind of a comedy, a first in his career.)Ĭentred by an alluring performance from Maggie Cheung, Assayas’s swing in the dark was handsomely rewarded, and Irma Vep soon considered an indelible addition to the international indie canon (not to mention the movies-about-movies canon). So, he’d made Irma Vep in the interim, devising a story that reconciled the ghosts of cinema’s past with a looser, more experimental future. The year was 1996, and Assayas, who had riveted critics with his teenage cris de coeur Cold Water two years earlier, hadn’t yet begun work on Sentimental Destinies (2000), a sprawling period drama that kept being pushed back. When Irma Vep first premiered at Cannes, the film – written and directed by Olivier Assayas – was screened in Un Certain Regard, the festival’s sidebar for somewhat less established filmmakers.
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