pointless, boring

Evelyn 2022-04-19 09:02:43

What is the film trying to convey?
1. The crisis of middle-aged actresses is mixed with reflection on the role of women in male society
2. The homosexuality of middle-aged women towards young women is similar to "Footprints". A homosexual obsession extends to an obsession with life and youth, using sex as a source of energy.
3. Actresses, their background group portraits, their duality, and their many shackles different from male actors.
4. A play and the feminism he wanted to show. Conflict between different age groups of female roles, a transformation of the oppressive level of an angry daughter-in-law becoming a mother-in-law.
These four relationships and contradictions overturned each other, one after another, interspersed in all aspects, a movie seems to be a national exhibition hall, one time it goes into the China pavilion, the other time it goes into the Swiss pavilion, and the other time it goes into the Korean pavilion. Excuse me, what is the theme of this exhibition?

The actor's performance was extremely disappointing.

Juliet Binoche may be the arrogant linguistic and cultural milieu of the French, or it may be her middle-aged urgency that makes her performance in the last few English-language films extremely disappointing. Think of "Red, Blue and White" and "Paris, I Love You". The oppression of women in French society is a very, very good subject, and the story of this film is also a very good entry point, but perhaps the director (absolutely blameless, there are big problems with casting and direction), Juliet is very Effort, Stewart, as always, but there is no spark between the two, which makes the movie bland. The only bright spot is the young actress, not how well she performs, but at least her role is explosive.

The slow-paced, detailed

plot and scenes have nothing to do with the story. It seems that a film was made in the form of a documentary. The director set up the camera and began to follow the whole process of Juliet as a middle-aged actress taking on a certain drama. This isn't a movie, it's like 200 news photos were taken and put on the newspaper, and the reader is left to find the clearest one. Later, when I saw that the director was the one who directed "Carlos the Lone Wolf", I understood that that film is the representative of the running account. This kind of director can also be chosen again and again, which is really a phenomenon unique to France.

This movie reminds me of the Korean movie "Actresses" with the same theme. It is also about the conflicts between different generations of actresses, the stories of actresses themselves and the duality of actresses as women. Character selection, plot grasp and rhythm grasp are far stronger than this film.



View more about Clouds of Sils Maria reviews

Extended Reading

Clouds of Sils Maria quotes

  • Maria Enders: Jo-Ann?

    Jo-Ann Ellis: What's up?

    Maria Enders: I wanted to ask you. You know the scene at the beginning of Act 3 when you tell me you want to leave and I get on my knees and I beg you to stay? You're on the phone ordering pepperoncini pizza for your coworkers in accounting. You leave without looking at me. As if I didn't exist. If you could pause for a second. Helena's distress would last longer when she's left alone in her office. Well, the way you're playing it, the audience follows you out but instantly forgets about her. So...

    Jo-Ann Ellis: So? So what?

    Maria Enders: When, when I played Sigrid I held it longer. I thought it was more powerful. Erotically. I mean, it really played well.

    Jo-Ann Ellis: No one gives a fuck about Helena at that point, do they? I'm sorry, it's pretty clear to me that this woman is all washed up. I mean, your character, Maria, not you. And when Sigrid leaves Helena's office, Helena's a wreck, and we get it. You know, it's time to move on. I think they want what comes next.

    Maria Enders: If you just held it a few seconds longer.

    Jo-Ann Ellis: It doesn't really feel right for me, Maria.

    Maria Enders: You're right. Yeah. I - I - I think I'm - I'm lost in my memories. You think you've forgotten your old habits, but their all - they all come back. Have to break them.

    Jo-Ann Ellis: I guess you do!

  • Piers Roaldson: [Piers proposes new movie mutant role for Maria] I'm trying to consider genetics from a more human point of view.

    Maria Enders: When I was reading it, I imagined someone much younger. Maybe me younger, actually, but you were seeing me in movies that were made years ago. I - I've changed.

    Piers Roaldson: She has no age. Or else, she's every age at once. Like all of us.

    Maria Enders: Can I be frank? Maybe it's because I'm working with her, but as I was reading it, I - I kept thinking about Jo-Ann.

    Piers Roaldson: Yeah, well personally, I never think about Jo-Ann Ellis.

    Maria Enders: You're wrong. She's smart. And talented. She's modern, just like your character.

    Piers Roaldson: My character isn't modern. Not in that way, anyway. She's, outside of time.

    Maria Enders: Outside of time. I don't understand. It's too abstract for me. It's all right.

    Piers Roaldson: I - I don't like this era.

    Maria Enders: You're wrong. It's yours!

    Piers Roaldson: Amen! I didn't choose it.

    Maria Enders: [laughs]

    Piers Roaldson: And if my era is Jo-Ann Ellis and viral Internet scandals I think I'm entitled to feel unrelated, aren't I. I mean, it's nothing against her, I guess I just assumed you'd understand.