After a first watch, I was wholly disappointed with Clouds of Sils Maria. Metafiction, as intriguing as the concept is by itself, was used to pretentious effect. Not to tell a story, but to try and instill distinction into a story that is inherently aimless.
However, as I found myself quite unable to interpret the plot in a way that made sense, even in hindsight, the characters kept haunting me in a way that reminded me of Mulholland Drive by David Lynch. A film that has to be endured, has to engulf you, like a trip.
So upon a second inspection, I learned to appreciate Sils Maria not in any rational vein, but rather on an intuitive, experiential level. It doesn't have to make sense to be enjoyable. These characters are breathtaking and memorable in their own right.
Sils Maria is very much a film ABOUT films. So a certain affinity with filmmaking is basically a prerequisite for anyone watching this.
So yeah, it's too abstract, and contrived. And it has too many foreign accents, also on account of Stewart and Moretz being the only two cast members that really shine. The first in her familiar and established phlegmatic style, perhaps too much on autopilot -- I for one have a hard time accepting Stewart won the César award for her role, as I've seen her top this performance more than once. On the other hand, Moretz impresses by devouring what little screen time she gets -- a remarkably powerful display of talent.
The rest of the cast, however, is seen wrestling with the cerebral plot, that seems more suited to a novel, with its numerous parallels, reflections, additional layers, and fourth wall breaks.
But hey, this is art-house. And as an actor's movie, it satisfies. As a story, though, it feels like a novel that shouldn't have been made into a film.
However, as I found myself quite unable to interpret the plot in a way that made sense, even in hindsight, the characters kept haunting me in a way that reminded me of Mulholland Drive by David Lynch. A film that has to be endured, has to engulf you, like a trip.
So upon a second inspection, I learned to appreciate Sils Maria not in any rational vein, but rather on an intuitive, experiential level. It doesn't have to make sense to be enjoyable. These characters are breathtaking and memorable in their own right.
Sils Maria is very much a film ABOUT films. So a certain affinity with filmmaking is basically a prerequisite for anyone watching this.
So yeah, it's too abstract, and contrived. And it has too many foreign accents, also on account of Stewart and Moretz being the only two cast members that really shine. The first in her familiar and established phlegmatic style, perhaps too much on autopilot -- I for one have a hard time accepting Stewart won the César award for her role, as I've seen her top this performance more than once. On the other hand, Moretz impresses by devouring what little screen time she gets -- a remarkably powerful display of talent.
The rest of the cast, however, is seen wrestling with the cerebral plot, that seems more suited to a novel, with its numerous parallels, reflections, additional layers, and fourth wall breaks.
But hey, this is art-house. And as an actor's movie, it satisfies. As a story, though, it feels like a novel that shouldn't have been made into a film.
Tell Your Friends