This browser is supported only in Windows 10 and above.


Cannes Dispatch 2: Olivier Assayas’ Hong Kong and Hou Hsiao-hsien’s Paris

Posted by on

By Dennis Lim

Continuing the festival’s directors-abroad trendlet: Olivier Assayas’ Hong Kong and Hou Hsiao-hsien’s Paris are, without question, more credible, lived-in locales than, say, Wong Kar-wai’s Memphis. (We’ll get to Michael Moore’s Canada, Britain and France later.)

These relocating directors seem to be operating on a broadly similar midcareer impulse, a desire to snap out of old habits, or wed them to new perspectives. Assayas’ lurid, invigorating thriller “Boarding Gate” is less a transition than a stopgap, an attempt (after “Springtime Past,” a project about provincial life in France, was put on hold) to take his place in what he terms “the new order of film finance.” Accordingly, it’s a scaled-back, quick-and-dirty production — the opposite of “Clean” (in several ways), a B-movie mutation of “demonlover” and “Irma Vep” with a few unavoidable nods to “Scarlet Diva,” the globe-trotting, ass-kicking calling card of its inimitable star Asia Argento.

Half the film takes place in the anonymous industrial outskirts of Paris, the other amid the distinctive urban chaos of Hong Kong. At the heart of the rote action-plot double-crosses are the Argento character’s relationships, rooted in mutual duplicity and power struggles, with two men she has worked for and loved (Michael Madsen and Carl Ng). Much of the first half is given over to two long sequences — all rough sex talk and mindfucking role play — between Madsen’s thuggish entrepreneur and Argento’s Sandra, an ex he used to pimp out to his clients. Encouraged to improvise, Madsen pushed things in a direction that, per Assayas in the press kit, “scared both of us, Asia and me.” (“MAD-sen,” Argento said when asked about her co-star at the pre-screening reception.)

The second half, as propulsive as the first is claustrophobic, takes Sandra to Hong Kong, where she must elude a host of obscurely motivated captors (through a food court, a DVD bootlegging office, a karaoke lounge). Kim Gordon, as some kind of crime boss, makes quite an impression, barking out orders in phonetic Cantonese. The finale packs the tough-tender jolt of a first-rate HK genre flick, and Argento’s instinctive, force-of-nature performance is worthy of the emerging queen of the festival (she has two more movies yet to screen: Abel Ferrara’s “Go Go Tales” and Catherine Breillat’s “An Old Mistress”).

Assayas filmed in a city he knows well, but before he started work on “Flight of the Red Balloon,” Hou had only visited Paris as a tourist. He was commissioned by the Musée d’Orsay to make a film that incorporated the museum, read up on Paris (he says he found Adam Gopnik’s “Paris to the Moon,” another outsider’s take on the city, particularly useful), spent time there and immersed himself in French film. He eventually settled on a curious starting point: Albert Lamorisse’s 1956 short “The Red Balloon.”

Juliette Binoche, in perhaps the best and certainly the most eccentric performance of her career, plays Suzanne, a frazzled, bottle-blond single mother who puts in long hours rehearsing at her puppet theater company and has just hired Chinese film student Song (Song Fang) as a nanny for her young son Simon (Simon Iteanu). Obvious echoes of “The Puppetmaster” notwithstanding, it more strongly evokes “Café Lumière,” Hou’s previous foreign film, which likewise dealt with family rupture and had a similarly discreet yet evocative feel for daily, street-level urban existence.

There’s a clear parallel here with the Wong Kar-wai — both Hou and Wong are moving on from self-consciously retrospective works (“Three Times” and “2046”) — but Hou’s sensibility, grounded in concrete specifics of time and place, travels better.

Hou has not adapted “The Red Balloon” so much as borrowed its iconography: boy, balloon, cityscape. The director and his cinematographer Mark Lee Ping-bing alternate between generally untouristy Paris exteriors and immaculately framed interiors (mostly in Suzanne’s cramped apartment). The film is more ambience than plot — set to a constantly tinkling modernist piano score (replaced, amusingly, by actual piano tuning in one long scene) — but there are a number of interpolated narratives, among them the Lamorisse film, which is explicitly referenced (Song is making her own somewhat experimental version).

This is one of Hou’s most sublimely bittersweet films — “a bit happy and a bit sad,” as a kid at one point remarks of “The Balloon,” a Félix Vallotton painting that hangs in the Orsay — and it also happens to be one of his most ambitious and complex. “Flight of the Red Balloon” opened the Un Certain Regard section, but a third of the way into the festival, it eclipses all the competition titles I’ve seen — further reflection has made the film seem richer, stranger, more indelible. One can imagine what repeat viewings will do.

[Photo: Olivier Assayas’ “Boarding Gate,” Wild Bunch/Margo Films, 2007]

Watch More

The Best Of The Last

Portlandia Goes Out With A Bang

Posted by on

The end is near. In mere days Portlandia wraps up its final season, and oh what a season it’s been. Lucky for you, you can watch the entire season right now right here and on the IFC app, including this free episode courtesy of Subaru.

But now, let’s take a moment to look back at some of the new classics Fred and Carrie have so thoughtfully bestowed upon us. (We’ll be looking back through tear-blurred eyes, but you do you.)

Couples Dinner

It’s not that being single sucks, it’s that you suck if you’re single.

Cancel it!

A sketch for anyone who has cancelled more appointments than they’ve kept. Which is everyone.

Forgotten America

This one’s a “Serial” killer…everything both right and wrong about true crime podcasts.

Wedding Planners

The only bad wedding is a boring wedding.

Disaster Hut

It’s only the end of the world if your doomsday kit doesn’t include rosé.

Catch up on Portlandia’s final episodes on demand and at

Watch More

Your Portlandia Personality Test

The New Portlandia Webseries Is Going Your Way

Posted by on

Carrie and Fred understand that although we have so much in common, we’re each so beautifully unique and different. To help us navigate those differences, Portlandia has found an easy and honest way to embrace our special selves in the form of a progressive new traffic system: a specific lane for every kind of driver. It’s all in honor of the show’s 8th and final season, and it’s all presented by Subaru.

Ready to find out who you really are? Match your personality to a lane and hop on the expressway to self-understanding.

Lane 10: Trucks Piled With Junk

Your junk is falling out of your trunk. Shake a tail light, people — this lane is for you.

Lane 33: Twins

You’re like a Gemini, but waaaay more pedestrian. Maybe you and a friend just wear the same outfits a lot. Who cares, it’s just twinning enough to make you feel special.

Lane 27: Broken Windows

Bad luck follows you around and everyone knows it. Your proverbial seat is always damp from proverbial rain. Is this the universe telling you to swallow your pride? Yes.

Lane 69: Filthy Cars

You’re all about convenience. Getting your car washed while you drive is a no-brainer.

Lane 43: Newly Divorced Singles

It’s been a while since you’ve driven alone, and you don’t know the rules of the road anymore. What’s too fast? What’s too slow? Are you sending the right signals? Don’t worry, the breakdown lane is nearby if you need it.

Still can’t find a lane to match your personality? Check out all the videos here. And see the final season of Portlandia this spring on IFC.

Watch More

Last-Minute Holiday Gift Guide

Hits from the '80s are on repeat all Christmas Eve and Day on IFC.

Posted by on
GIFs via Giphy, Photos via The Everett Collection

Watch More