After the crash of the French New Wave had subsided into an uncertain lull, critics complained that French cinema was dead. In reality, it was merely taking a rest. Enter Olivier Assayas, son of a respected pre-New Wave scriptwriter. Although schooled...
[more]After the crash of the French New Wave had subsided into an uncertain lull, critics complained that French cinema was dead. In reality, it was merely taking a rest.
Enter Olivier Assayas, son of a respected pre-New Wave scriptwriter. Although schooled in literature and painting, Assayas maintained celluloid aspirations and completed his first short in 1979. He then went on to edit Cahiers du Cinema, the subversive film journal that had once been Francois Truffaut's mouthpiece for more personal, less commercial endeavors. Assayas followed up this editorial stint with two screenplay collaborations with French director Andre Techine, "Rendezvous" (1985) and "Scene of the Crime" (1986).
His directorial debut came with "Desordre," a dark flick about a rock band on the rocks. In this first effort Assayas' screenwriting background is apparent -- the film shows a critical attention to narrative structure and character psychology. "Desordre" won the coveted Critics Prize at Venice, establishing Assayas as an up-and-comer to be watched.
1991's "Paris S'Eveille" cemented Assayas' reputation in Europe and introduced him to American audiences in New York (the film was not widely distributed elsewhere). Again, "Paris S'Eveille" deals with the trials and tribulations of young people, as it charmingly follows youthful aspirations and their outcomes. Noteworthy for the tension it creates, the film reveals Assayas' dark romantic side. However, the later "Cold Water" (1994) is not very romantic at all -- though it continues to pursue the subject of youth, its coming-of-age premise is definitely on the bleak side. Still, the flick has been lauded as one of the best films that has yet to see an American release.
In 1996, Assayas finally received widespread international attention with the sexy "Irma Vep," a playful satire of cinema starring Hong Kong action star, Maggie Cheung, as herself. The film spawned a wave of hype: some heralded the film as an enchanting revitalization of French filmmaking, while others argued it was a dull French inside joke.
More solid praise met the return-to-roots "Late August, Early September" (1998), a graceful, titular reminder of the work of Eric Rohmer and the original New Wavers. It represents the next stage of Assayas' thematic love affair with youth, as it follows a group of 30-somethings dealing with growing older. So, too, does Assayas grow older, while the international film scene waits for the next offerings from this recently celebrated auteur.
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