'Clouds of Sils Maria' Cannes Reviews and Reactions

Telegraph Kristen Stewart risplende nel suo ruolo migliore fino ad oggi, nell’intelligente dramma Clouds of Sils Maria di Olivier Assayas, presentato a Cannes 2014, dice Robbie Collin. (...) Ma è la Stewart, che brilla letteralmente nel film. Valentine è probabilmente il suo miglior ruolo fino ad oggi: lei è acuta e sottile, vicina quasi a poter essere afferrata e poi improvvisamente distante,e gestisce la svolta sorprendente con un tocco di leggerezza brillante. The Guardian Stewart dimostra ancora una volta che buona interprete può essere lontana dall'ombra di Twilight. Seduta a cena, durante una cena, in una scena del film, Val congeda il suo capo considerandolo snob e sostiene che i blockbuster di fantasia possono essere altrettanto validi, a modo loro, come i drammi sociali siti nelle fabbriche o nelle fattorie. Maria inarca delicatamente un sopracciglio. Ancora una volta, lei non è convinta. Vanity Fair: In Clouds of Sils Maria di Olivier Assayas, Kristen Stewart attacca tutti coloro che l’anno a loro volta attaccata per Twilight. (...) Potrebbe essere il personaggio di Chloe Grace Moretz, l’impertinente Jo-Ann Ellis, che solleva un dito medio alla telecamera,ma è Kristen Stewart,celebre per il suo ruolo famoso in un franchise, a sollevare un dito medio ai critici di Clouds of Sils Maria. L’attenta ed intelligente meditazione di Olivier Assayas sulla recitazione, la notorietà, e l'età non offre solo alla signora Stewart il miglior ruolo della sua vita; ma le concede il centro della scena per tracciare, in modo eloquente e non didattico, una difesa da attore per il genere di film che sono considerati ruoli infernali, come nel caso di Twilight. La Stewart offre una performance sorprendente in Clouds. Il suo personaggio Val, assistente personale e rocca di Gibilterra di Juliette Binoche,star di Sils Maria, è sicuro di sé, furbo, onesto, percettivo e anche un po’ hot. Lontana dai tempi della vampira Bella Swan. Nel film irradia fiducia a differenza dell’indecisione Edward/Jacob. Nella maggior parte del film ritroviamo la Stewart e la Binoche che conversano, e la Stewart detiene la scena Questo film cambierà radicalmente la vostra percezione circa la persona che avete spesso deriso.

AP L’interpretazione del ruolo dell’assistente di una famosa attrice, da parte di Kristen Stewart ha dato al Festival di Cannes una performance autoreferenziale e immediatamente acclamata nell’ultimo giorno del Festival.

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From Telegraph (🌟🌟🌟🌟)

Kristen Stewart shines in her best role to date, in fearlessly intelligent drama Clouds of Sils Maria by Olivier Assayas, shown at Cannes 2014, says Robbie Collin 

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But it’s Stewart who really shines here. Valentine is probably her best role to date: she’s sharp and subtle, knowable and then suddenly distant, and a late, surprising twist is handled with a brilliant lightness of touch. 

From The Guardian (🌟🌟🌟🌟)

(..) Stewart again demonstrating what a fine performer she can be away from the shadow of Twilight. Sitting down for dinner, in one telling scene, Val dismisses her boss as a snob and claims that blockbuster fantasies can be just as valid, in their way, as social-realist dramas set in factories or on farms. Maria arches a delicate eyebrow. Yet again, she's unconvinced.

From Vanity Fair:

In Oliver Assayas’s Clouds of Sils Maria, Kristen Stewart sticks it to anyone who ever slammed her for Twilight. 

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It may be Chloe Grace Moretz's character, the outwardly bratty tabloid sensation Jo-Ann Ellis, who flips a middle finger at the camera, but it's the real Kristen Stewart, franchise-famous celebrity, who flips a middle finger at the critics in Clouds of Sils Maria. Olivier Assayas' thoughtful and intelligent meditation on acting, fame, and age doesn't just offer Ms. Stewart the best role of her life; it grants her a moment at center stage to lay out, in eloquent yet non-didactic terms, a defense of actors in the kinds of movies that sound a heck of a lot like Twilight.

While the meta moment fits snugly in the flow of this movie (and no doubt would work well with another talented actress delivering the lines) it's impossible not to imagine this as a K-Stew cri de coeur, a suggestion that those who have been slamming the Twilight films maybe should water down their haterade. Stewart gives a striking performance in Clouds. Her character Val, a personal assistant and rock of Gibraltar to Juliette Binoche's film and stage star Maria, is self-assured, crafty, honest, perceptive and even a little bit warm. It's a 180 from the dead-behind-the-eyes Bella Swan, yet there's the same flat delivery and crossed-arm presence. Here it radiates confidence, not Edward vs. Jacob indecision. Most of the film is just Stewart and Binoche in conversation, and Stewart more than holds her own. This film will fundamentally change your perception of this oft-mocked individual.

From AP

Playing an assistant to a famous actress, Kristen Stewart gave the Cannes Film Festival a self-referential and immediately acclaimed performance on the festival's final day.

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From Little White Lies

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To help her through this metaphysically trying time is assistant, Valentine, here played by Kristen Stewart, who delivers a performance of immense poise and texture, retaining good humour in the face of a full-time position which involves being locked in the professional mindset of another woman. Her character, replete with forearm tattoos, vintage band t-shirts and thick black-framed glasses, is one who initially seems like a satirical archetype of the carefree PR dolly, yet Stewart imparts an air of pensive solemnity, seldom exploding into grand, try-hard theatrics.

From THR

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The majority of the film’s two hours is devoted to scenes involving Binoche and Stewart, sometimes with others but mostly alone, so for anyone who enjoys watching these two excellent actresses knocking it back and forth as their characters cope with the myriad issues surrounding a performing career, there is much to behold. This is definitely an insider’s view, looking at things not in a salacious way but as a consideration of the way such lives are led and how past associations continue to impact decisions made in the present. 

Binoche and Stewart seem so natural and life-like that it would be tempting to suggest that they are playing characters very close to themselves. But this would also be denigrating and condescending, as if to suggest that they’re not really acting at all. Their give-and-take and the timing of their exchanges, particularly in the rehearsal sequences, is wonderfully fluid and non-theatrical; Binoche works in a more animated register, which makes Stewart’s habitual low-keyed style, which can border on the monotone, function as effectively underplayed contrast.

From Variety

Val, the hyper-reliable young woman who serves as her minder, mother, therapist and rehearsal partner. It is Val who talks her nervous boss into doing the “Maloja Snake” revival, dragging Marie to a studio-produced superhero movie just to see Jo-Ann Ellis, the edgy young actress (Moretz) tapped to play the other part.

Running lines from the play, Marie and Val may as well be describing their own sexually charged codependency, so perversely does the dialogue fit the pair’s own increasingly unhealthy dynamic. At times, Val excuses herself to visit a photographer boyfriend (although a weird mountain-driving montage suggests she may simply need to get away when the connection becomes too intense), until finally, Val seems to disappear altogether, just one of the many mysteries woven into this rich and tantalizingly open-ended psychological study.

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But Stewart is the one who actually embodies what Binoche’s character most fears, countering the older actress’ more studied technique with the same spontaneous, agitated energy that makes her the most compellingly watchable actresses of her generation.

From Irish Times:

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The picture is worth enduring for the performances by K-Stew and J-Bo. They are the only authentic things in a sea of contrivance and bad faith. Major prizes would come as a surprise.

From The Film Stage

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Stewart has been a strange property during her time in Hollywood, her talents as an actress mostly untested (or, better put, ignored) in the Twilight franchise, despite showing signs of promise in films like Adventureland and The Runaways. Val is a complex role in which the actress never loses her real-life persona, instead embracing it to develop a dynamic with Binoche’s more classically moved performance. The two begin on a train to Zurich to honor Maria’s great collaborator, a German playwright who wrote the role that made her famous, when they learn the man has died. More than that, a young director hopes to re-stage the play with Maria once more, not in the lusting and forceful youth role, but as the suicidal, weak-willed, older woman.