At times this does become too self-referential for its own good, but it is still a satisfying and good film about films with a solid ending.

For people who criticize French film for being boring, self-referential, elitist-bourgeois-art-house-film-crap - this particular French film - explores the pitfalls of French culture, cinema and the French film-culture as well. Of course, it's done in a fashion that probably will confirm your worst expectations about French film - but no stone is left unturned and everything is beautifully evened by the fact, that every character is completely indifferent toward anything - film in particular.

Somehow simultaneously achieves gravity on the surface with a whimsical undercurrent.

"The post-modern compulsions on display here may bring movies together, but they also keep people apart." - Fernando F. Croce

Really good. Nice life for Maggie Cheung playing herself as a very down-to-earth, sympathetic person in a film also merrily celebrating her external beauty.

an assayas film is always going to be interesting, whether you want it to be or not

# 843

Being a comic film about a movie production, and also starring Jean-Pierre Leaud, obviously it brings Day for Night to mind. I think I like this a little more than Truffaut's film actually. There were some very funny moments, and a good soundtrack too (Sonic Youth and Serge Gainsbourg). The scene of Maggie Cheung slipping into her latex catsuit and prowling the hotel was superb. I do wish I'd had a chance to see Les Vampires before watching this.

Saw this at time of release. Was convinced then that the director was a fraud. Avoided his movies for a decade. In 2009, saw two more, "Demonlover" and "Boarding Gate." I should have continued the policy of avoidance.

Thank god Cheung spends alot of screen time in latex otherwise this film would have nothing. It's Stereotypical Arthouse Nonsense w/ nothing less than a film-w/in-a-film setting & a chain of (uninteresting) events in the lives of realistic (&uninteresing) characters in the service of posing a series of cliche questions: what is "Art"? What is "Real"? No thought of course, smug in the assurance that it's provided enough of a springboard for the viewer's Journal of Seriously Serious Cinema essay.

I admit I have a weakness towards movies about movies and especially mockumentary style in general. I get drawn in instantly and care attention to every detail more than normal. Irma Vep is no different. Blending of extra footage has pretty good timing and enrichens the experience. Not an extraordinary example in this narrow subgenre, but enjoyable all along. Leaud is fantastic, Cheung is a delight to look at. I wonder if there are Julie Delpy clones in France like the lesbian costume designer.