Review of Clouds of Sils Maria (2014) by Paul P — 19 Jul 2015

Clouds of Sils Maria is not a movie for anyone. Oliver Assayas has crafted a deeply rich and complex film that demands repetitive viewings, yet its density and heavy-handedness make it a special treat for some viewers only.

The story, described in the briefest way possible, is about actress Maria Enders (Juliette Binoche) who became famous by playing a 20-year-old assistant who seduces her 40-year-old boss and then destroys her in a play called Maloja Snake. Twenty years later, the playwright responsible of her success has died, and Enders accepts to play the 40-year-old boss in the remake of the play against a Lindsay Lohan-esque actress called Jo-An Ellis (Chloe Grace Moretz). To prepare for her role, Enders goes to the deceased playwright's house in Sils Maria alongside her assistant Valentine (Kristen Stewart).

The movie focuses on the conflicting relationship between Enders and Valentine, and it does through discussions these characters have about fame, acting, character studies and art interpretation. It's almost meta, because the movie is, basically, a character study about character studies. And what characters! In Enders and Valentine, Assayas has written two thoroughly complex and different characters, whose opinions are as thought-provoking as the movie's clear metaphors about aging and generational breaches. Binoche eats this role up. She is flawless as the aging actress, who is a bit of a stubborn jerk but also a bit of a genius. Stewart also nails her role as the actress' assistant, in a performance that suits her nuanced qualities (Kristen Stewart can act!). The dialogue, also, has a reflecting contemporary feel, that makes the movie only more interesting to watch inside out.

Moretz does what she can with the character she is given, but the truth is that compared to the characters of Valentine and Anders, Jo-An Ellis is a clichéd stereotype that is very one-dimensional. Yeah, she is a brat, but can't there be more to it? In a movie that challenges the perception of artistic values, it sure seems like a conflicting puzzle piece. Also, as I said before, this movie is dense. It is divided in three acts: Act I, which is a great opening; Act II, the longest of the three, and the Epilogue, in which the movie closes with bittersweet perfection. Act II suffers from repetitiveness and exhaustion. It is still interesting, but it's a bit stretched and the pace slows down significantly.

Assayas has done a beautiful movie, nonetheless. Binoche and Stewart have never shined so bright in a movie that takes the audience's brain for a strongly philosophical ride about life and art and the links between the two. It's more an admirable idea than an enjoyable movie, but the feat is nevertheless impressive.