“The clouds of Sils Maria” is played brilliantly – Badische Zeitung

If you want to have them read this article, you can use the access key + v to the end, the use Accesskey + z.

17th December 2014 00:00 clock

new in cinema

Olivier Assayas is “The Cloud of Sils Maria,” a fascinating drama succeeded. With original picture ideas, wonderful scenery and great actors.

A film that tells of mask and person displays of power and dependence, mountain solitude and cultural chaos, cinema history and actresses fate, a film here 90 years old nature shots and there science fiction -Künstlichkeit: does not inevitably fail must, in pretentious or overly intellectual shallowness Art effort? He does not have to Olivier Assayas is “The Cloud of Sils Maria,” a fascinating, neither labored nor exhausting drama succeeded. With original picture ideas, wonderful scenery (Camera: Yorick Le Saux), instinctively inserted music (in the best sense of pathos: Pachelbel’s “Canon” and the Largo from Handel’s “Xerxes”) – and, first of all, great actors. Occupied shiny it is down to the supporting roles (Hanns Hisse r, Lars Eidinger, Angela Winkler), worn but it is from these two. Juliette Binoche and Kristen Stewart

The now 50-year-old Oscar winner (“The English Patient”) from Paris and half as old Californian play with credibility and subtle intensity that one has forgotten the experimental set-up soon, which together spanned her characters. In the first scene, the celebrated actress Maria (Binoche) moves with her assistant Valentine (Stewart) on the train to Zurich, a prize in the reclusive author, to whom she owes her career: Wilhelm Melchior “Maloja Snake” (both there really ) she once made famous – as a young woman who seduces her much older boss and drives them to suicide. This wild, unconventional, captivating Sigrid which she portrayed on stage and in film was an identity for Mary, not only the actress, and perhaps it is today, decades later.

Now wants the ambitious director Diesterweg (Lars Eidinger, see Ticket interview) re-enact with her “Maloja Snake”: only this time they will play Helen, the older woman as Sigr id is the Hollywood star Jo-Ann Ellis (Chloë Grace Moretz ) are provided. Maria Bucks: you just experienced divorce and doubts anyway in their youth and attractiveness, and also died in the Helena actress of that time in the year after the movie, not a good omen

And yet she takes on the role of.. In the second part of the film we see them in Sils Maria in the Engadine, where they rehearse the piece with Val in the seclusion of Melchior empty standing house. From the Diva from the beginning with lush curls and Chanel gown a natural woman has become, unvarnished, with buzz cut and jeans. Juliette Binoche has always walked with skin and hair on their roles, as radical as here but she has probably never renounced all complacency. Especially since this Maria also has to do with herself: If she is worshiped as the grande dame of French cinema, vibrates always with that it is not a very young actress more

. The fog snake crawls through the valley

And Kristen Stewart? Clearly has more to it than just the Schmachtmädel from “Twilight”, as she proved as in David Fincher “Panic Room” or in Jake Scott’s “Welcome to the Rileys”. This time she makes her figure the secret torque of the film: Val, at the same time confident and unpretentious, is for Mary assistant and Managing Editor, consultant, friend – and gateway to the present. Drink with her until Mary laughter tilts in the shrill artificiality, goes with her in a 3D blockbusters, so that they can get a picture of Jo-Ann.

represents the 17-year old Chloë Grace Moretz (“Kick Ass, “” Carrie “), currently with” If I stay “and” The Equalizer “is in cinema, delicious self-deprecating as schmollippige scandal noodle. Her figure is both a caricature of a young diva in the 21st century and vital threat to Mary. But while you are still expected to Jo-Ann shows up in the Engad ine and propagating the anarchic-pubertal seductive power of their youth, it is clear that there are so Mary and Val, in which repeated the Helena Sigrid constellation. When samples of the piece they are increasingly blurring the boundaries between role and identity – they still speak the stage text or even yourself

As far homoerotic attraction between the two women is, remains in nice balance, but the tension? between them grows – to Val life with and can no longer stand for Mary. And disappears. In the middle of the picture most powerful scene of this visually not exactly lacking in the film: Mary is early in the morning broken up with her to see the Maloja snake, that cloud phenomenon in the Swiss canton of Graubünden, the Melchior’s piece was the title and documented in 1924 by the German mountain film makers Arnold Fanck was , Also this morning creeping fog like a snake down over the Maloja Pass through Val, Maria wants to share her delight in the spectacle with Val, but that is no longer there.

your past must Maria stand alone. Was she ever who they wanted to be, or was the Sigrid von once just a fiction, which she held for her life? Juliette Binoche makes life a lie and hurt an aging actress almost physically tangible, and Assayas gives her great scenes of this: if, for example Maria from the onslaught of paparazzi takes refuge in a sedan, as would apply to her and not Jo-Ann media interest. The 1955 Paris-born director (“Carlos – The Jackal”) by the way has its own story with the actress. Almost 30 years ago he was a co-writer André Téchiné for “Rendez-Vous” – with the young Juliette Binoche in the lead role. The drama marked a turning point in his career, the film critic for the filmmaker. Meanwhile, both stars, Assayas as Binoche, and “The Cloud of Sils Maria” are not least a film about cinema. About the performers wearing sell herself to tell of happiness and nostalgia, time and transience
-. “ The clouds of Sils Maria” by Olivier Assayas hits theaters tomorrow. (From the age of twelve)

Author <- - RSPEAK_STOP!>: Gabriele Schoder