A Conversation with Brad Deane of TIFF

Olivier Assayas

Though I’ve already written in these pages about the retrospective, ‘Something in the Air: The Cinema of Olivier Assayas,’ happening at TIFF this summer, I recently had the chance to speak with Brad Deane, the Senior Manager of TIFF Cinematheque, who is also a part of the programming team for the festival. It was readily apparent that he was a big fan of Assayas’s movies, and he spoke candidly about why the French director of the post May ’68 French tradition remains and will remain relevant in our conversations regarding film, modern culture, and life as we know it.

Hoon: How did you first come across Assayas’s films?

Brad Deane: I think it was at the festival when ‘Clean’ was playing at the Gala. I first heard of him when I was in university in Florida but back then I didn’t have much access to the films. I watched a few of them but it wasn’t until later on that I got to see more and more of his films. There are also a lot of earlier ones that were hard to see. Doing the retrospective is when I was first able to see them. Every time I watched the films I wanted to do a retrospective more and more as I saw these themes running through the works.

H: I’ve been always curious as to see what it’d be like to watch, virtually one after the other, a series of movies by a single director. Do you think a retrospective like this one brings certain elements of the movies to light?

B: Definitely. I think Olivier sees his works that way too. Stylistically they are very different. There’s ‘Demon Lover’ then ‘Clean’ and then he goes back to ‘Boarding Gate.’ But I still do see themes running through the whole body of works. And I know from talking to him that he sees them in that way, he sees them as parts of a larger project. He’s just approaching it from different angles.

Maggie Cheung in ‘Clean’ (2004)

H: Are there particular things you want the audiences to see in Assayas’s films?

B: I’m always reluctant to point out because you’re always going to come away with your own thing. The films are great because they are so rich and there are many different things to look at. But I do think that strong female performances throughout his body of works are really amazing. He’s been doing that since the beginning — it’s effortless, I don’t think he’s consciously trying to do it. Some of the themes about modern culture and how modernization and technology are affecting us are fascinating: As we move ahead, what are losing from the past and what are we gaining? And I don’t think he’s making any kind of moral judgments on these subjects either.

From ‘Something in the Air’ (2012)

H: And I think that’s what was so interesting about watching ‘Summer Hours’ and ‘Personal Shopper’ — he addresses these issues not in a moralistic way but as part and parcel of personal stories.

B: I think he’s someone who doesn’t like to make moral decisions. And the way he approaches things from a political perspective is really fascinating because he grew up in a post May ’68 culture. While maybe some of the views could be considered toward the left, he’s always aware and critical and trying to see what we are gaining and losing. In some ways, he’s so tricky to pin down: you can’t really say he’s this or that. I find that really interesting because it’s engaging — he keeps pulling you in and asking questions. He’s someone who’s very curious about every subject he wants to tackle. And you as an audience member feel that curiosity in the films.

H: Assayas is now recognized as an auteur, yet sometime it is difficult to pin down Assayas into a single genre or a style of film. How would you describe his movies to someone who’s never seen one?

B: It’s tricky. I think ‘Cold Water’ on, there’s definitely a certain visible style of movement on screen with him. The films take place at a brisk pace, almost at the pace of life. If you don’t catch something, you can miss it, though you don’t often do since he’s so strategic about how he lays everything out for the audience. But the films move at that pace and I think that’s how he deemphasizes any moral judgments or anything like that.

H: Do you have a personal favorite Assayas’s movie? 

B: If I have to narrow it down to a few — and this is difficult because I really love his films — ‘Cold Water’, an absolute masterpiece, ‘Summer Hours’, ‘Carlos’…It’s hard to say with the newer ones but I absolutely loved ‘Personal Shopper’. It moves me every time I see it. I remember seeing it at Cannes and walking out of the cinema and feeling completely lost and dazed.

H: Tell us more about what you think of Personal Shopper. 

B: For me it’s about the idea of loss. Why are we here and what’s beyond here. And at the emotional level, losing someone close to you and how you deal with that. It captures that in such a beautiful and complicated way.

H: What I found interesting in Personal Shopper is that it’s an amalgam of genres, some of which he’s explored in his previous films — thriller, murder mystery, etc. 

B: That’s something I love about his work. He’s interested in big Hollywood type of films — we could talk about James Bond movies —, but then he also loves arthouse movies like Bergman and Hou Hsiao-hsien. He loves the high culture, he loves art, he loves trash, Hollywood…to him it’s all the same. There’s no judgment on which one’s better than the other. They all satisfy different needs.

Something in the Air: The Cinema of Olivier Assayas’ runs through August 20th. You can catch a double feature of Assayas’s ‘Personal Shopper’, starring Kristen Stewart, followed by Michelangelo Antonioni’s 1966 classic, ‘Blow Up.’ On closing day, you can watch Assayas’s ‘HHH — Portrait de Hou Hsiao-hsien‘ followed by ‘A Time to Live and a Time to Die‘ by Hou Hsiao-hsien. You can  get more information and purchase tickets hereStay on the look out for more information on TIFF’s various retrospectives happening before the festival this year, including ‘Ida Lupino: Independent Woman,’ a close look at the actor, screenwriter, director, and producer in Hollywood in the ’50s. 

Something in the Air: The Cinema of Olivier Assayas at TIFF

On June 9th, Manohla Dargis and A.O. Scott of the New York Times published ‘The 25 Best Films of the 21st Century,‘ a list of films that are “destined to be the classics of the future.” Because I read almost every review the two write, I went through the list and noted down films I haven’t seen that I’d like to see now that they’re meant for even more greatness. A few hours later, the marketing team at TIFF reached out with news of a new Summer-long complete retrospective — the first in 15 years — of the French master, Olivier Assayas whose 2008 film, Summer Hours, graced number #9 on NYT’s list and on top of my to-watch list. What are the chances!

Not all coincidences, it is said, are interesting. Considering that Assayas has long been synonymous with post-1968 generation of French cinema that deal with adolescence, political dissent, terrorism, and globalization, and that Summer Hours won numerous critics’ award around the world, perhaps this particular coincidence falls into the not very interesting category. Yet, it is, nevertheless, a fortuitous one, as I now have the chance to spread the news on TIFF’s Something in the Air: The Cinema of Olivier Assayas.

Scene from ‘Summer Hours’

Olivier Assays was a film-critic for France’s Cahiers du cinémathe prominent film magazine founded by André Bazin, before he became a director. Though he worked both as a director and screenwriter for numerous short and feature-length films alongside film giants like André Téchiné starting in 1978, Cold Waterreleased in 1994, is considered to be his breakthrough film as it was screened at that year’s Cannes Film Festival. Assayas has since established himself as a distinguished voice among contemporary filmmakers.

Assayas’s oeuvre is marked by the variety of genres. His 1996 satire Irma Vep about an actress (Maggie Cheung) and a failing director who wants to recreate Louis Feuillade’s 1915 classic Les Vampires is a strange and fascinating homage to the filmmaker and Hong Kong cinema. Sentimental Destinies (2000) is a costume drama set in the earl 20th centuries, concerning a Protestant minister. And with Demonlover (2002) and Boarding Gate (2007), Assayays forayed into noir and thriller. More recently, with Carlos (2010), Clouds of Sils Maria (2014), and Personal Shopper (2016), which won the Palme d’Or at the 2016 Cannes Film Festival, Assayas has become a globetrotter. With each genre, however, it is easy to see Assayas’s search for his vision. Encompassing his oeuvre is his rumination on films, film history, and issues of identity in the face of larger disorienting cultural, economic, and political forces.

Kristen Stewart as Maureen Cartwright in ‘Persona Shopper’

Summer Hours is interesting in that, for many who’ve come to know Assayas through Carlos and Personal Shopper, it offers a quieter and lyrical side of his oeuvre. The film begins with the 75th birthday of Helene (Édith Scob). Her three children, Frederic (Charles Berling), Adrienne (Juliette Binoche), and Jeremie (Jérémie Renier) gather in Helene’s home outside Paris to celebrate. Soon, Helene dies and leaves the house and her all-important art-nouveau furniture along with her inheritance from her famous artist uncle to her children. What ensues is a series of scenes and dealings with practical matters in which what holds a family together becomes increasingly vague; what was once thought to be a common ground — the house, both literally and figuratively — becomes a point of tension as money, emotions, and personal histories come into play. The center, however contentious and insufficient it had been prior to Helene’s death, does not hold once she is gone. Jeremie moves permanently to Shanghai and Adrienne to New York. Frederic, the only one left in France, struggles to realign himself as the new, albeit reluctant, center of his family of four.

Just next to the adult world of lawyers and contracts, Helene’s grandchildren lead, mostly unseen, entirely different lives. Shown Corot’s works nonchalantly hanging in his grandmother’s house, Frederic’s eldest son responds, “Well, it’s another era.” When Frederic is in the middle of closing a deal with regards to Helene’s furniture, his daughter, Sylvie, is caught shoplifting. That the film ends not in the adult world but with the children speaks to Assayas’s brilliance and vision. The movie that began with Helene and the art or artifacts of her life turns to one concerned with the disorder inherent in a family and becomes one about generations and youth, continuity and the lack thereof in families, cultures, and societies.

As with all great themes in film, family and adolescence and identity are materials that are visited without every really exhausting them. And Assayas’s continually revisits them from unexpected avenues.

Édith Scob as Hélène Berthier in ‘Summer Hours’

As part of TIFF’s ‘Something in the Air: The Cinema of Olivier Assayas,’ Assayas will make four in-person appearances to introduce four of his films: Cold Water, Clean, Le Diable Probablement, and Le Pélican. It is also a chance to see 35mm prints of many of his films, including Summer Hours, Clouds of Sils Maria, and Something in the Air. Finally, it is also a chance to see HHH — Portrait de Hou Hsiao-hsienAssayas’s documentary of the great Taiwanese director (A Time to Live and a Time to Die by Hou Hsiao-hsien is also a part of the retrospective). The retrospective begins on June 22nd and runs through August 20th.

Olivier Assayas with Hou Hsiao-hsien

You can find more information on the retrospective and its schedule here. And continue following our arts & culture coverage on FacebookTwitter, and Instagram.

Style Ivy – Beyond Personal Shopping

Copy of MAC_2190a 2

If someone asked you to describe your style, could you do it?

How important is style to you?

Do you think style plays a crucial role in the way you carry yourself?

Lazina McKenzie, founder of style consulting company Style Ivy, has realized the importance of being able to respond all these questions.

McKenzie had worked her magic in the style consulting field for years, working with clients that ranged from large organizations to individuals. After a while, she decided she yearned to offer her services in a more approachable, personalized way. And that’s when Style Ivy was born: an agency with the ultimate purpose of helping people to look their best by teaching them to understand their own “style brand” — in other words, guiding them to be the best version of themselves.

This means no comparing one’s self to what they see on the red carpet, on the big screen or even on the streets. Your style has nothing to do with what everyone else is wearing: according to McKenzie, it’s about expressing your unique self in ways that make you feel happy, comfortable and confident.

“Each day, you are communicating who you are with others — your interests, your career goals and your personality,” says McKenzie. “We get a lot of questions about what to wear. Friends call, clients write emails, mothers-in-law beg for advice. Women everywhere have no idea to wear. Why do we feel the need to [get approval of] what we’re wearing to a party, an interview or a date? We need the confidence to share ourselves with others.”

And that’s exactly what Style Ivy is designed to give. McKenzie believes that tapping into our unique style signature could actually change our lives. Sounds like a stretch, but learning what styles work best for you can lead to a major boost in self-confidence, which can only lead to good things personally and professionally. It’s as much of a makeover on the outside as it is on the inside.

 Go to www.styleivy.com to start your style journey!