Clouds of Sils Maria

On the way to accept an award from the playwright that discovered her - the very same man who suddenly passes away before the ceremony - acclaimed actress, Maria Enders, is forced to reconcile both her age and her role in contemporary art. While rehearsing for a role, of which she has no choice taking due to her age, she has to reckon with the young actress playing her old role. This is a slow-paced movie, that is, it takes its time revealing the deteriorating confidence of an aging actress. What accentuates her strife are the locations: the lonesome mountains, long winding roads, both straddled by rolling, ground-smothering fog and clouds. Great lingering shots and cinematography eases the eye, as Maria rehearses and incrementally loses her mind with her young assistant, Valentine. Although her assistant attempts to defend what her boss deems as insufficient art (or cinema) and unprofessional (particularly the young costar of the upcoming play), Maria threshes with the stifling fact that her roles - both her role in the play and in the world of art - are changing without her control or consideration. The acting in this film is commendable, with a solid performance from Juliette Binoche (as always) and a surprising effort from Kristen Stewart. These two carry the movie with palpable chemistry - so much so that every turn in their relationship dictates not only the environment of the film, but also the audience. This film is for the patient, and for those who don't mind huge questions.

“We're not allowed to regret anything. If we're sincere, then we're the sum total of our experiences ... with no exceptions.” Art and Reality - one imitates the other. But which is the imitator and which is the creator? That invisible thread between art and reality is the heart of this film. Olivier Assayas has created a complex, intelligent, layered psychological drama, where the "stage script" and the film are connected by the gossamer art-reality thread. Juliette Binoche and Kristen Stewart delivered masterful performances with all the nuances required to bring Assayas' vision to life. The first third of the movie appeared to be bland, disjointed, and even on the edge of ennui. At the end, I realized the brilliance of this work that, in fact, there were no unnecessary scenes.