If you missed CLOUDS OF SILS MARIA when it was released in April, it may be just what you need to keep the dog days at bay—and not only because the film’s locations primarily include a cozy chalet and the mountains, forested valleys, and high meadow vistas of the Alps in southeastern Switzerland. Lead actors Juliet Bincohe and Kristen Stewart give invigoratingly intelligent performances, and Olivier Assayas directs his own screenplay with shrewd grace. Assayas’ 2008 film, SUMMER HOURS, won the New York, Boston, Vancouver, Los Angeles, and National Society of Film Critics Awards for Best Foreign Language Film. Among other works he also directed 1996’s IRMA VEP. We watched CLOUDS OF SILS MARIA—which is largely in English with a few subtitles here and there—last night and found ourselves talking about it both as we headed off to bed and almost as soon as we were up this morning. How often do we see films that are psychologically engaging and emotionally affecting, that unfold like dreams with our never knowing—at every single step of the way— what will happen next, and that rigorously refuse to insult our intelligence?
The film picks up with Maria Enders (Binoche), a celebrated screen and stage actor, on a train to Zurich to deliver a tribute to a playwright named Wilhelm Melchior. Accompanied by a canny personal assistant, Valentine (Stewart), they receive news enroute that Melchior has died. The tribute goes ahead, and afterward the two women meet with his widow at her house in the Swiss mountains. Years before, Melchior wrote a play, “Maloja Snake,” about a female corporate boss who has an affair with a young woman in her office—originally played by Maria. Now she has been asked to revisit the work, on the London stage, in the role of the older woman. And so—staying at the Melchior chalet while the widow is away—Maria runs lines with Valentine reading Maria’s former part in Melchior’s home.
The viewer is invited to explore the indistinct and porous borders of art and life—and the unique artfulness of those actors who live even closer to those fault lines than others of their peers—but Assayas, Bincohe, and Stewart refrain from allowing the “meta” framing to become precious, archly intrusive, or self-conscious. The viewer is pleasurably seduced into a mystery that is heady, unpredictable, slightly disorienting, and provocative. CLOUDS OF SILA MARIA is both rich and fresh, and even an unresolved development near the end proves to be neither careless nor contrived but stimulating and, in retrospect, expansive.
As Maria confronts her insecurities about playing the older character in the play—and eventually meets the young Hollywood celebrity (Chloe Grace Moretz) who will take her former, career-making role as the manipulative 20-something seductress—the interplay between life and art burgeons with more force in Maria and Val’s relationship. As they take long hikes and bathe in alpine tarns, we are drawn even more deeply into the film by the necessity of trying to discern line rehearsals from personal exchanges. Binoche (who appeared onstage in London earlier this year in “Antigone”) gives one of her most raw-boned and arresting screen performances to date, and Stewart meets her more than halfway—she need not worry about her career lingering in the penumbra of TWILIGHT. (Both won France’s Cesar Awards for their performances this year, as did Assayas for his screenplay.)
The house and its pristine yet ethereal setting offer the film’s meditations an added redolence. Now a museum and study center, it was home to Friedrich Nietzsche during several productive summers. He wrote of it, “Here one can live well, in this strong, bright atmosphere, here where nature is amazingly mild and solemn and mysterious all at once,” he wrote. Assayas powerfully evokes this atmosphere for his film. Here is the true high life, one that calls into question the model in which Maria and her kind—and not only in the movie business—are so often consumed.
Not only does CLOUDS OF SILS MARIA invite repeat viewings, I anticipate that it will reward them.
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Clouds of Sils Maria
Format: DVD
IMDb6.8/10.0
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Product details
- Is Discontinued By Manufacturer : No
- Package Dimensions : 7.1 x 5.42 x 0.58 inches; 2.88 Ounces
- Dubbed: : French
- Subtitles: : English, French, Spanish
- ASIN : B00XK98TVU
- Number of discs : 1
- Best Sellers Rank: #255,982 in Movies & TV (See Top 100 in Movies & TV)
- #197,921 in DVD
- Customer Reviews:
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4.1 out of 5 stars
4.1 out of 5
715 global ratings
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Reviewed in the United States on August 10, 2015
Reviewed in the United States on August 22, 2015
Really not a fan. Olivier Assayas's "Irma Vep" was transcendent and amazing, and sometimes I feel that it is my favorite movie of all time. However, I get the feeling that that movie was based on improvisation, and that less rigid nature is what made it so incredible. I feel pretty sure that "Clouds of Sils Maria" is scripted, so it is too rigid, and the only good thing about "Irma Vep" is gone. Lacking great photography, production value, or mise en scene, there is nothing great about this movie, or any other Assayas movies, save "Irma Vep." It hurts to say that because "Vep" was so great and even brilliant. However, this movie is a stick in the mud. Kristen Stewart's reluctant energy permeates through her whole role, but while it sunk her role and dragged the movie down a notch, I'm not even sure that the movie would have been any better even with a better actress in her role. Binoche is ok, but certainly doesn't save the movie either.
The movie's fatal flaw is its foundation: its dreadfully boring premise and script, which is almost completely dialogue. The movie is overly complex and tedious, talking about characters that are barely in the movie and seemingly inconsequential. The chattery girl-talk puts your emotions in overdrive, and it is hard to believe that a man directed this. So much of the movie is this hormonal girl-talk and gossip. It amounts to talking about things that happen, but not really seeing anything happen, and it's pretty frustrating. The movie over-philosohpizes about a play we never really see, except for a few seconds at the end.
I suppose this movie has a central theme (aging), but it skips around something fierce. That loose energy could be interesting if we had the feeling of "Irma Vep," but we don't. At the end of the day, this movie is something drowning at sea, and nothing really saves it. If you want to see a piece of brilliance, see "Irma Vep," that is brilliant, and everything that makes French cinema great, and everything that this movie is trying to be. The same could be said of "Ponette," and "Force Majeur." Those are all incredible French movies, and I recommend you see them instead. "Clouds of Sils Maria" is too meticulous, and belabors an uninteresting point: an actress preparing for a role, and the fear that she is a has-been. What is supposed to be so interesting about this movie are the philosophical points of practicing for a role, but it is way too dry. The majority of the plot focuses on a play and events that happen off screen, and it makes the action as dry as sand. This movie also features women acting crazy together, which if you're a guy, really doesn't speak to you. However, even if you're a woman, I don't think you'll like this movie either. I hate giving Olivier Assayas less than 5 stars, but that is really what this movie deserves. I give it 1.5 stars. When a movie is so creative and not just a brainless action explosion-fest, I really want to give it 5 stars, or at least make it clear that it is on another level than an action movie that I'd give the same rating to. But I also have to be clear in that this movie achieved none of its goals. Don't get me wrong, "Godzilla" was totally brainless, and although I gave it more stars than this, it is down on some dumber level in which it achieved more stars in its attempt to do what it was trying to do: simply entertain the audience with explosions. Kudos to Assayas for trying something more creative than what you see at the MegaPlex, but this movie didn't hit its own marks.
The movie's fatal flaw is its foundation: its dreadfully boring premise and script, which is almost completely dialogue. The movie is overly complex and tedious, talking about characters that are barely in the movie and seemingly inconsequential. The chattery girl-talk puts your emotions in overdrive, and it is hard to believe that a man directed this. So much of the movie is this hormonal girl-talk and gossip. It amounts to talking about things that happen, but not really seeing anything happen, and it's pretty frustrating. The movie over-philosohpizes about a play we never really see, except for a few seconds at the end.
I suppose this movie has a central theme (aging), but it skips around something fierce. That loose energy could be interesting if we had the feeling of "Irma Vep," but we don't. At the end of the day, this movie is something drowning at sea, and nothing really saves it. If you want to see a piece of brilliance, see "Irma Vep," that is brilliant, and everything that makes French cinema great, and everything that this movie is trying to be. The same could be said of "Ponette," and "Force Majeur." Those are all incredible French movies, and I recommend you see them instead. "Clouds of Sils Maria" is too meticulous, and belabors an uninteresting point: an actress preparing for a role, and the fear that she is a has-been. What is supposed to be so interesting about this movie are the philosophical points of practicing for a role, but it is way too dry. The majority of the plot focuses on a play and events that happen off screen, and it makes the action as dry as sand. This movie also features women acting crazy together, which if you're a guy, really doesn't speak to you. However, even if you're a woman, I don't think you'll like this movie either. I hate giving Olivier Assayas less than 5 stars, but that is really what this movie deserves. I give it 1.5 stars. When a movie is so creative and not just a brainless action explosion-fest, I really want to give it 5 stars, or at least make it clear that it is on another level than an action movie that I'd give the same rating to. But I also have to be clear in that this movie achieved none of its goals. Don't get me wrong, "Godzilla" was totally brainless, and although I gave it more stars than this, it is down on some dumber level in which it achieved more stars in its attempt to do what it was trying to do: simply entertain the audience with explosions. Kudos to Assayas for trying something more creative than what you see at the MegaPlex, but this movie didn't hit its own marks.
Top reviews from other countries
nekki
4.0 out of 5 stars
Un film très proustien!
Reviewed in France on February 11, 2015
Un film qui se penche sur le temps perdu, sur un passé à tout jamais condamné à la mémoire.En effet, Maria ne se fait pas au rôle de quadragénaire qu'on lui propose, la présence de sa jeune assistante la plonge constamment dans le regret de sa jeunesse et dans l'incompréhension d'une génération nouvelle, avec laquelle elle sera confrontée, non sans douleur, par le personnage de la jeune actrice qui reprend le rôle de Sigrid. Beau film mélancolique sur la difficulté de vieillir, film aux images superbes d'un site rendu fameux par les séjours qu'y fit Nietzsche ( ce qui n'est peut-être pas étranger au choix du lieu). Excellente interprétation des trois femmes. Le seul reproche que l'on pourrait faire à ce film, c'est de se disperser dans plusieurs thèmes: à côté du thème principal, il y a celui de la vie d'actrice, et de ses aléas ( rythme de travail épuisant, présence des paparazzi etc...), celui de la confrontation avec la vie moderne ( présence obsédante des smartphones et autres tablettes). Beau film, à voir et à revoir pour en saisir toutes les nuances.
R. Chapman
4.0 out of 5 stars
Extraordinary landscapes and acting.
Reviewed in the United Kingdom on July 29, 2015
A very high standard of reviews have already been posted so there is little to add. It is a very rich and complex film that I would not dare to comment on in depth after only one viewing. Assayas is an extremely interesting experimental director who seems to alternate between unique low-budget personal projects (Irma Vep) and more mainstream conventional films. This lies somewhere between the two. What could have been quite a talky theatrical piece is made palatable by an inspired choice of locations and music. It's far too early to rank this film but it is certainly a respectable addition to the genre of "Meta" films, that often walk a tightrope between pretention and profundity, but at their best reach places that other films aren't even aware of. At times, this film levitates.
Truffaut was always asking the question, "Are women magical?" In this film, Binoche certainly is.
On a slightly negative note, the interview with Assayas has dreadful sound quality and should never have been released. It should at least have had subtitles. It's even more disappointing as he clearly has a lot of intelligent things to say about the film, unlike a lot of so-called interviews included with DVDs, but I could only understand about half of what he was saying. This film deserves better.
Truffaut was always asking the question, "Are women magical?" In this film, Binoche certainly is.
On a slightly negative note, the interview with Assayas has dreadful sound quality and should never have been released. It should at least have had subtitles. It's even more disappointing as he clearly has a lot of intelligent things to say about the film, unlike a lot of so-called interviews included with DVDs, but I could only understand about half of what he was saying. This film deserves better.
2 people found this helpful
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Trim Vis 44
4.0 out of 5 stars
Intellectually and visually stimulating, emotionally barren
Reviewed in Canada on September 28, 2018
This is a long and talky movie probing the issues surrounding the acceptance of ageing and the relinquishing of power, or clout and influence, to the next generation. The characters used to illustrate this are a famous actress, her personal assistant, and a starlet and media darling on the rise. Binoche, Moretz and even Stewart (who in previous films seemed rather a nonentity to me) give excellent performances. There is stunning scenery in the sequences shot in the Swiss mountains and overall the use of colour and backgrounds is pleasing to the eye. The script is intelligent, has humour and there are some heavily charged dramatic scenes. So why didn't I love the film? Personally, I found the characters not particularly likeable or interesting and, while I never found them boring, I also never cared about their fates; the film just never involved me emotionally (A fault of the writing not the actors). So if you find the subject matter interesting or you like pretty travelogues it's well worth watching, but if you want a movie about the stage and aging where the characters are emotionally involving you still can't beat "All About Eve"!
3 people found this helpful
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Tony
5.0 out of 5 stars
Un beau film
Reviewed in France on November 4, 2016
Pour moi ce film est fantastique, c'est un film vraiment puissant, qui prend tant d'angles différents et tant d'aspects différents pour faire quelque chose de spécial. Je l'ai vu pour la première fois au cinéma, mais je devais l'obtenir comme un cadeau pour ma femme (un professeur de cinéma), comme elle l'avait manqué.
Nous sommes d'accord qu'il ya quelque chose de très spécial dans la façon dont le film est fait. Le casting semble parfait pour le film, et l'histoire est très intelligent. Prendre une femme aussi regarder en arrière sur sa propre vie en revivant son propre rôle 20 ans plus tard, tout en essayant de lâcher prise.
Je recommande le film pour vous, mais également je vous conseille de le regarder 2 ou 3 fois pour vraiment comprendre et de prendre l'histoire complète de celui-ci, car il fonctionne définitivement à vous désorienter que vous allez le long, les vrilles et les virages, Laissez-vous incertain quelle direction le film va avancer.
===
For me this film is fantastic, its a really powerful film, which takes so many different angles and so many different aspects to make something special. I first saw it in the cinema, but I had to get this as a present for my wife (a cinema teacher), as she had missed it.
We agree there is something very special in the way the film is done. The casting seems perfect for the film, and the story is very clever. Taking a woman too look back on her own life by reviving her own role 20 years later, whilst trying to let go.
I would recommend the film to you, but equally I would recommend to watch it 2 or 3 times to really understand and take the full story from it, as it definitely works to disorientate you as you go along, twists and turns, flips and rolls leave you unsure what direction the film will move forward.
Nous sommes d'accord qu'il ya quelque chose de très spécial dans la façon dont le film est fait. Le casting semble parfait pour le film, et l'histoire est très intelligent. Prendre une femme aussi regarder en arrière sur sa propre vie en revivant son propre rôle 20 ans plus tard, tout en essayant de lâcher prise.
Je recommande le film pour vous, mais également je vous conseille de le regarder 2 ou 3 fois pour vraiment comprendre et de prendre l'histoire complète de celui-ci, car il fonctionne définitivement à vous désorienter que vous allez le long, les vrilles et les virages, Laissez-vous incertain quelle direction le film va avancer.
===
For me this film is fantastic, its a really powerful film, which takes so many different angles and so many different aspects to make something special. I first saw it in the cinema, but I had to get this as a present for my wife (a cinema teacher), as she had missed it.
We agree there is something very special in the way the film is done. The casting seems perfect for the film, and the story is very clever. Taking a woman too look back on her own life by reviving her own role 20 years later, whilst trying to let go.
I would recommend the film to you, but equally I would recommend to watch it 2 or 3 times to really understand and take the full story from it, as it definitely works to disorientate you as you go along, twists and turns, flips and rolls leave you unsure what direction the film will move forward.
Veronica Blake
5.0 out of 5 stars
Sils Maria: Kristen Stewart é la prima attrice americana ad aver vinto un César!
Reviewed in Italy on June 5, 2015
Ho visto questo film gia due volte. Perché? Vi chiederete. Be' la risposta é semplice: é una pellicola che cattura, ti fa vivere i tormenti di Maria Enders, le sue lotte interiori. La storia é piena di sfumature che sfuggono ad uno spettatore distratto per questo bisogna lasciarsi catturare dall'intensità del soggetto e guardarlo attentamente. Juliette Binoche ha interpretato Maria con uno stile pazzesco, mai sopra le righe e con la sensibilità che la contraddistingue. Kristen Stewart...be' cosa dire su di lei? Con questo film ha dimostrato, se mai ce ne fosse bisogno, di avere talento da vendere. Ha prestato il suo volto intenso e bellissimo a Valentine la fedele assistente di Maria e l'ha interpretata sapientemente, rendendola vera con le sue fragilità e le sue opinioni che difende strenuamente: grazie a questo ruolo Kristen ha vinto il César, un riconoscimento davvero meritato!. Un'altra piacevole sorpresa é stata Chlöe Grace Moretzt che mi ha davvero colpita. Le locations del film sono spettacolari come il servizio di Amazon che ha consegnato il DVD nella data stabilita ed in condizioni perfette!