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	Zeitgeist Films \| Olivier Assayas (Site not responding. Last check: 2007-10-21)
		Assayas came to the attention of American filmgoers when his third film PARIS S’EVEILLE (1991) was screened at the Film Society of Lincoln Center in New York in their ground-breaking 1992 touring series of new French cinema.
		In 1997 Assayas shot a documentary on the great Taiwanese director Hou Hsiao-Hsien which premiered in September at the Venice and Toronto Film Festivals, and in 1998, LATE AUGUST, EARLY SEPTEMBER debuted in the Toronto, Sam Sebastian and New York Film Festivals.
		Olivier Assayas is also the co-author, with Stig Bjorkman, of the book Conversations with Ingmar Bergman (1990).
	zeitgeistfilms.com /directors/oassayas (401 words)

	Olivier Assayas - Wikipedia, the free encyclopedia
		Olivier Assayas (born January 25, 1955) is a French film director and screenwriter.
		Assaya's father was French director/screenwriter Jacques Remy (1910-1981).
		While working at Cahiers du cinema, Assayas wrote lovingly about European film directors he admires but also about Asian directors.
	en.wikipedia.org /wiki/Olivier_Assayas (184 words)

	Seven Questions for Olivier Assayas
		Olivier Assayas is the director of "Irma Vep", which screened at the 1996 New York Film Festival.
		Assayas spoke with indieWIRE via telephone from his New York hotel room, where he was on hand for the festival.
		Olivier Assayas: That's tough to answer because for the first time I've made a film which fit into a genre, which is movies about movies.
	www.indiewire.com /people/int_assayas_oliver_961002.html (765 words)

	GO Brooklyn
		Assayas considers Garrel to be a true cinematic poet, and his tribute to him is the witty gloss on Garrel's title.
		Assayas found his answer in films made by three directors: John Carpenter's "Assault on Precinct 13" (1976; Aug. 27), David Cronenberg's "Videodrome" (1982; Aug. 29) and a double-bill from horror master Wes Craven - 1972's "Last House on the Left" and 1977's "The Hills Have Eyes" (Aug. 28).
		Assayas remembered "One Plus One" vividly as a film that marked precisely a distinct moment in time, and although it has become considerably dated (as have most Godard works from this era), it remains a valuable historical document.
	www.go-brooklyn.com /html/issues/_vol27/27_33/assayas.html (796 words)

	demonlover - (CANADIAN RELEASE) DVD
		Assayas may be grasping at straws in a number of instances, but his general framework is sound, and as he speaks of the disconnect of people from the industries that shape them, I'm inclined to look past demonlover's weaknesses.
		Assayas isn't interested in telling you the tale of Mangatronics vs. Demonlover, because that would mean pitting a "good" company against an evil one when really it's all a battle for the minds of people the well-monied participants will never meet.
		Assayas doesn't quite have the finger on the pulse of this shambling monster.
	www.filmfreakcentral.net /dvdreviews/demonlover.htm (767 words)

	Events: Olivier Assayas Retro. @ MOMA Gramercy
		In the late 1980s and early 1990s, Olivier Assayas brought the liminal crises of adolescence and young adulthood vividly to life in such films as Paris Awakens (1991) and Cold Water (1994).
		As Hou escorts Assayas around his childhood haunts of Taipei and its environs, he reveals himself to be charmingly wry, politically and critically engaged, and fond of karaoke.
		Assayas affirms the exquisite messiness of human relationships in this Proustian/Tarkovskian study of time’s fluidity, the interplay between fantasy and memory, and the essential unknowability of others.
	www.16beavergroup.org /events/archives/000400.php (755 words)

	Fin août, début septembre (1998) (Site not responding. Last check: 2007-10-21)
		Assayas' IRMA VEP is the best French film of the last quarter century; thematically rich, stylistically remarkable, emotionally devastating.
		FIN AOUT is, in comparison, a rather drab handheld take on Eric Rohmer, filled with dull, aimless, middle-class intellectuals who have such 'financial problems' that they get their uncle to lend them his country villa; they whinge and emote in the most banal terms, in a plot that says nothing, and goes nowhere.
		Assayas is, along with Tim Burton, Takeshi Kitano and Wong Kar-Wai, the greatest director in the world: he has often been compared to the latter, although he can't quite reach Wong's offhand melancholy poetry just yet.
	www.imdb.com /Details?0167925 (809 words)

	Eye - The Clean getaway - 03.03.05
		Assayas is less interested in sexy needles than the prosaic details of Emily's process of recovery.
		Assayas' other ambition was to create a role worthy of Cheung, whose dozens of screen appearances include the lead in Irma Vep, Assayas' dazzling 1996 arthouse hit.
		Assayas and Cheung were subsequently married for three years, divorcing in 2001 (their split was evidently amicable).
	www.eye.net /eye/issue/issue_03.03.05/film/clean.html (919 words)

	French culture \| cinema: Olivier Assayas (Site not responding. Last check: 2007-10-21)
		One of the most exiting directors to have made his mark in the last decade, Olivier Assayas is at the forefront of a new French film scene.
		Assayas knew that he wanted to make movies early in life.
		The remarkable thing about Assayas' work is the way in which it weds a very modern sensibility with an eye and ear for nuance and detail so rich and full as to be miraculous.
	www.info-france-usa.org /culture/cinema/festival/assayas (394 words)

	reverse shot : online : olivier assayas
		Olivier Assayas, however, following the great French tradition of depicting man’s quotidian existence, regards work with a sideways glance, while simultaneously delving into the characters’ emotional, sexual, and social lives.
		Assayas, Renoir-esque in his generous spirit, allows Gabriel a measure of redemption.
		Sitting at a cafe with the aide to the politician whose autobiography he has ghostwritten, he is distracted from their small talk when he notices Vera (Mia Hansen-Love), the elfin adolescent with whom Adrien spent his final days.
	www.reverseshot.com /septoct03/loves.html (1255 words)

	Amazon.com: Demonlover (R-Rated Edition) (2002): DVD (Site not responding. Last check: 2007-10-21)
		Assayas directs his modern corporate nightmare with a voyeuristic style, a hard eye for disturbing images, and more passion than explanation.
		Assayas hits this on the head with the ending when we watch our questionable hero becoming a subject for a teenage kid.
		Olivier Assayas lets the wind out of his movie for about an hour straight even to get that far, and it leads to narrative frustration, but I can't say watching this movie a second time that that frustration is necessarily a bad thing.
	www.amazon.com /exec/obidos/tg/detail/-/B00019079O?v=glance (2665 words)

	Irma Vep, Olivier Assayas, 1998 [Les Cahiers du cinéma] (Site not responding. Last check: 2007-10-21)
		This film marks the invention of a new manner, a style which is both highly wrought and elegant, but which also develops an innovative concept of cinema.
		In fact, without overstatement, Assayas is pioneering a new way of looking at the world.
		Assayas has succeeded in creating a film imbued with a modernity that is extremely rare in the French cinema: a work focused on the bustle and the excitement of urban life, which captures a real sense of the frantic rhythms of the world as it is today.
	www.france.diplomatie.fr /mediasociete/cinema.gb/promotion/diffusion_nc/collections/cahiers/film05.html (302 words)

	Salon \| "Irma Vep"
		When Maggie hears that Zoé is attracted to her, she's both charmed and incredulous: a swath of emotions, from confusion to cautious delight, passes across her face with the subtlety and playfulness of ripples on a lake.
		When she ultimately rejects Zoé and heads back to her hotel in a taxi, Assayas (and his brilliant cinematographer, Eric Gautier) shows us only sketchy details of the car and the shiny, licorice-fl street: almost all the light radiates from Cheung's face as she waves, smiling, to the crushed Zoé from inside the cab.
		In "Irma Vep," shot in 16 mm on a tiny budget, Assayas affirms that for viewers and filmmakers alike, movies are still worth believing in -- that the very lunacy of trusting in their significance is just as brave and extravagant an act as actually going out and making one yourself.
	www.salon.com /may97/vep970509.html (1038 words)

	Olivier Assayas -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-21)
		Olivier Assayas (born January 25, 1955) is a (The Romance language spoken in France and in countries colonized by France) French (The person who directs the making of a film) film director and (Someone who writes screenplays) screenwriter.
		While working at (Click link for more info and facts about Cahiers du cinema) Cahiers du cinema, Assayas wrote lovingly about European film directors he admires but also about Asian directors.
		One of his latest films is a documentary about (A government on the island of Taiwan established in 1949 by Chiang Kai-shek after the conquest of mainland China by the communists led by Mao Zedong) Taiwanese filmmaker (Click link for more info and facts about Hou Hsiao-Hsien) Hou Hsiao-Hsien.
	www.absoluteastronomy.com /encyclopedia/o/ol/olivier_assayas.htm (299 words)

	iFMagazine.com Reviews - Late August Early September
		Director Assayas uses an improvisational directing style (utilizing hand held camera shots, close ups and natural light) that deceptively make the film seem to have a random structure but it is actually rather tightly structured.
		Director Assayas whose last film IRMA VEP rankled some and impressed a few often drops us into the middle of a scene without establishing a beginning or end but as the film progresses the incidents and the facts of the character's lives come to light.
		Some would call this sophisticated, some would call it confusing, but the film's satisfaction comes less from the style and more from watching the characters resolve their daily dilemmas while coming to grips with their own mortality.
	www.ifmagazine.com /review.asp?article=185 (438 words)

	ArtForum: Weight in measure - French film director Olivier Assayas - Interview
		Late August, Early September, which opens in New York in early July, is a story about suffering and death, but one infused with an extraordinary degree of lightness and spontaneity, stemming in part from the film's elliptical construction and loosely sketched characters.
		If Disorder's disaffected teens were drawn to death like moths to a flame, Assayas's latest film addresses what he calls "the obscene way that life has of continuIng," an inexorable flow embodied in restless camerawork and the delicate, watercolor-like quality of his image.
		OLIVIER ASSAYAS: It's been a long process, and it's very much connected to my going through a period during the late '80s, early '90s, when three of my friends died from AIDS.
	www.findarticles.com /p/articles/mi_m0268/is_10_37/ai_55015161 (1476 words)

	dOc DVD Review: Demonlover (2002) - Printable
		On one level, this 2002 film from French writer/director Olivier Assayas (Irma Vep) is a straight-forward corporate thriller, set in the high-stakes world of Japanese anime porn and 3D technology.
		Assayas isn't necessarily a nightmarish art house visionary, but Demonlover is one of those left-of-mainstream thrillers that tries hard to be daring and unclear, and it does manage to succeed more often than not.
		Director Olivier Assayas and D.P. Denis Lenoir show off what seems like some kind of wise guy melding of identifiable fragments of Hitchcock, Lynch, and Cronenberg (and maybe a little Carol Reed thrown in for good measure) into a spiraling and confusing tale that admittedly is damn near impossible to look away from.
	www.digitallyobsessed.com /showrevpdf.php3?ID=5806 (989 words)

	SPLICEDwire \| "Demonlover" review (2003) Olivier Assayas, Connie Nielsen, Charles Berling
		The concoction of French filmmaker Olivier Assayas ("Irma Vep"), "Demonlover" stars Connie Nielsen ("Gladiator," "One Hour Photo") as Diane, a second-tier envoy for a Paris-based conglomerate that is negotiating a production and distribution deal with a Japanese maker of animated porn.
		Ambitious and aloof but insecure, Diane begins the film by having a superior poisoned, abducted and mugged for confidential papers, thereby clearing the path for her to take over the negotiations -- and this is the character with whom we're supposed to identify.
		It's soon clear that somebody is on to Diane, and paranoia barely has a chance to set in before she's being subverted by an unscrupulous colleague (Charles Berling) and the devious personal assistant (Chloe Sevigny) of the woman she poisoned.
	www.splicedonline.com /03reviews/demonlover.html (595 words)

	Director Olivier Assayas - MoviesOnline
		Below is a complete list of all of the Olivier Assayas movies in our database.
		CLEAN opens March 4th : Olivier Assayasâs Clean stars Maggie Cheung (Best Actress at the 2004 Cannes Film Festival) as a junkie who tries to rebuild her life from the ruins of a rock ân...
		One of the most exciting new directors to have made his mark in the â90s, Olivier Assayas is at the forefront of a French film scene revitalized by the films of young directors like Leos Carax, Arnaud Desplechin
	www.moviesonline.ca /director420.htm (1093 words)

	village voice > film > "I Can Hear the Guitar: Selected by Olivier Assayas" by Olivier Assayas
		They gave us their tracks, which I then reshaped, with Olivier Goinard, the sound designer, to fit the images.
		That's a rarity—musicians are typically in charge of their own mixing and don't often adapt it to the soundscape of the movie.
		Olivier Assayas is the director of, most recently, demonlover, which will be released in a director's cut DVD next month, and Clean, which premiered at Cannes in May.
	www.villagevoice.com /issues/0434/assayas.php (1026 words)

	Clean review - movie review of the Olivier Assayas film starring Maggie Cheung
		Assayas opens his film with shots of industrial sites in Canada, a metaphor for the milieu of rock music that he depicts.
		Whether it's the group Metrics and their singer, all feline grace, or even Tricky, in full hypnotic and feverish trance, his camera vibrates to the tempo of the electrifying music of these artists.
		Assayas directs a very emotional film, antipodal to the very cold Demonlover.
	www.plume-noire.com /movies/reviews/clean.html (598 words)

	village voice > film > Rohmer's Autumn Tale; Olivier Assayas by J. Hoberman
		The title of Olivier Assayas's Late August, Early September refers to a season of life, and that's scarcely the only Rohmerian aspect to the French cineaste's adventurous if disappointing follow-up to his art house firecracker Irma Vep.
		If the film's focus is not immediately apparent—lost in a clutter of purposefully banal interactions—it may be that Assayas is treating us to a somewhat older cohort than in his earlier films.
		Assayas is at his best with a close-up pan through the crowd at a smoky nightclub or choreographing the emotional complexity of a scene in which a gaggle of old friends reminisce.
	www.villagevoice.com /film/9927,hoberman,6872,20.html (1163 words)

	ToxicUniverse.com - Olivier Assayas - 2003 - demonlover Movies Review (Site not responding. Last check: 2007-10-21)
		Writer/Director Oliver Assayas (my last favorite of his was the wonderfully kinetic Irma Vep, which I highly suggest renting) spins a web of intrigue around the internet and big business, the central issue being the profitability of adult animated pornography that's supposedly (and probably is) lucrative.
		Assayas wisely chooses to shoot the extremely graphic sequences involved with the internet exploration with a candid but simple eye.
		Assayas always pulls back to place the content in the larger focus of the industry.
	www.toxicuniverse.com /review.php?rid=10005201 (1008 words)

	OFFOFFOFF film review CLEAN French movie by Olivier Assayas with Maggie Cheung, Mary Moulds, Nick Nolte, Béatrice ...
		Maggie Cheung is a trilingual whirlwind as a mother fighting heroin in Olivier Assayas' "Clean," which drags too much to do justice to its tri-continental performances.
		Olivier Assayas' "Clean" opened the film festival not only as a nod to honoree and jurist Maggie Cheung, but as an embodiment of this spirit of diversity.
		It feels as though Assayas was trying to capture a similar magic with "Clean," but it doesn't quite work and we are left instead with yet another film that is almost, but not quite, really good.
	www.offoffoff.com /film/2004/clean.php (671 words)

	[No title] (Site not responding. Last check: 2007-10-21)
		Olivier Assayas' IRMA VEP is one of the most entertaining and accessible film of this semi-genre.
		The look of Assayas' early films, developed in collaboration with cinematographer Denis Lenoir, is quite distinctive, marked by somber lighting, hyperactive camera movement and extensive use of long takes.
		I talked to Assayas in New York on the ocassion of a retrospective at the Walter Remade Theater in March 1996 and during the New York Film Festival in September 1996.
	home.earthlink.net /~steevee/Assayas.html (3122 words)

	BAM : Brooklyn Academy of Music
		Here Assayas draws parallels between the emergence of punk and horror, rock n roll and road movies, and more than anything, underscores the immeasurable influence music has had in film in the past forty years.
		This series launches with a pairing that posits the first of many theories by Assayas regarding music on screen: film scores are a representation of, and window into, the counter-culture.
		She is committed and he drifts aimlessly, until a rendezvous at a party in the country.
	www.bam.org /film/Assayas.aspx (1331 words)

	Irma Vep . Newcity Chicago . 03-23-98
		Olivier Assayas' "Irma Vep" is an inventive, light-hearted take on French film history.
		Assayas litters the script with funny asides about contemporary filmmaking.
		By movie's end, you realize the players of all the backstage intrigue are the same as the gang of bandits from "Les Vampires"-battling, bickering, hypnotized and hypnotizing, the film crew are the true vampires.
	www.filmvault.com /filmvault/chicago/i/irmavep1.html (264 words)

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