A vertiginous mise en abyme! In Irma Vep, broadcast this Tuesday at 8:40 p.m. on OCS City in US + 24, Olivier Assayas transposes for HBO and A24 his eponymous film made in 1996, in a miniseries of 8 episodes. In the feature film, the filmmaker followed Maggie Cheung (Maggie Cheung), a big star of Asian cinema who landed in Paris to play Irma Vep, a character formerly created by Musidora, in a remake directed by René Vidal (Jean-Pierre Léaud) of the Vampires by Louis Feuillade. These famous serials, series of films in 10 episodes released in theaters between 1915 and 1916, depicted the Vampires, a band of Apaches who raged in Paris during the Belle Époque, including Irma Vep (anagram of Vampire), a virtuoso thief.
The miniseries presented in world premiere during the 75th edition of the Cannes Film Festival, uses the motif of the film. Irma Vep follows Mira (Alicia Vikander), Hollywood actress and disillusioned blockbuster star, on the set of a series or rather in “a film in eight pieces”, as René Vidal (Vincent Macaigne), director as neurotic as hilarious, from the movie remake of‘Irma Vep. This work by Olivier Assayas is a miniseries, adapted from a film, on the set of a series, adapted from a film which follows the shooting of a film, adapted from a series of silent films. Enough to make you dizzy and give material to a singular reflection on the audiovisual industry, series and the 7th art. On the occasion of the launch ofIrma Vephere are six more behind-the-scenes series.
“Ten percent” examines the relationship between stars and their agents
Shadow workers brought to light! Over these four seasons, Ten percent, a series created by Fanny Herrero based on the memories of Dominique Besnehard’s agents, entered the Hall of Fame of the most outstanding French series of the years 2010-2020 thanks to the promise of giving us a glimpse behind the scenes of the industry cinematographic. Brought to its debut by Cédric Klapisch, director of episodes 1 and 3, the series became known thanks to the presence of its guests from the world of the seventh art. But the 24 episodes kept spectators spellbound thanks to the earthy adventures of ASK’s artistic agents, talent scouts, confidants as well as star punching bags. Ten percent, available on Netflix, is now a successful franchise: while Mon Voisin Productions is developing a feature film with France Télévisions, many remakes are in preparation.
‘Feud: Bette and Joan’ questions sexism and ageism in Hollywood
Ryan Murphy’s anthology titled ” feud “, “quarrel” in English, depicts the legendary rivalries that have hit the headlines. The first season, available on Disney +, focuses on the filming, in the early 1960s, of the film What happened to Baby Jane? by Robert Aldrich, which brought together two huge stars of Hollywood’s golden age, Joan Crawford and Bette Davis, played here by Jessica Lange and Susan Sarandon. The two actresses know each other, admire each other, but hardly get along. In the ruthless Hollywood star system, it is difficult for an actress of a certain age, even a talented one, to find a role that suits her. Aware that the film can revive their past glory and give them the opportunity to return to a film set, Joan Crawford and Bette Davis embark on the project in which they camp precisely two rival sisters. The mise en abyme begins. A series that tackles sexism, misogyny and ageism in Hollywood.
“The Offer” depicts the making of a blockbuster
The underside of New Hollywood twilight. The Offer, American miniseries written by Michael Tolkin, broadcast on Paramount + since April 28 in the United States and which will be presented in France during the next edition of the Monte-Carlo TV Festival, follows the gestation and production of the cult film The Godfather. The 10 episodes chronicle how Mario Puzo’s bestseller became a feature film thanks to producer Albert S. Ruddy (Miles Teller), then-Paramount boss Robert Evans (Matthew Goode) and filmmaker Francis Ford. Coppola (Dan Fogler). The miniseries also chronicles how mob boss Joe Colombo (Giovanni Ribisi), concerned that The Godfather gives a stereotypical bad image of Italian-Americans, came to disrupt their plans. The trailer for this miniseries, including 20 minutes has not yet seen the episodes, promises a dive into the Hollywood industry of the 1970s, at the dawn of a new era of cinematographic art, that of the blockbusters whose The Godfather marked a turning point in 1972, revolutionizing the distribution of films in theaters.
“Hollywood”, a fantasized and inclusive vision of the dream factory
Sex, lies, gigolos and some truths… In Hollywooda 7-episode miniseries available on Netflix, Ryan Murphy (Glee, American Horror Story) and Ian Brennan (The Politician, Scream Queens) revisit the golden age of Hollywood cinema by presenting a dream factory that is more inclusive, more open and more representative after the war. Hollywood follows the adventures of Jack Castello (David Corenswet), a young veteran who dreams of becoming an actor and plays gigolos for a living. This character is fictitious, just like a good part of the group which aspires to break into showbiz: the African-American screenwriter Archie Coleman (Jeremy Pope), the Malagasy-born director Raymond Ainsley (Darren Criss) or Camille Washington (Laura Harrier), fictional character inspired by actresses Lena Horne and Dorothy Dandridge, the first African-American nominated for the Oscars for best actress. With his fantasized Hollywood, Ryan Murphy, corrects the history of an industry that still leaves too little room for minorities.
“The Deuce” or the rise of the porn industry
The underside of the rise of the porn industry. The Deuceseries imagined by George Pelecanos and David Simon, the creators of TheWire, relates how the explosion of X in New York in the 1970s will dynamite the daily lives of prostitutes, mafiosos and cops. It all starts on the Deuce, this 42nd Street, epicenter of the New York stupor of the Seventies, where prostitutes, pimps and dealers and specialized stores were concentrated where another cinema is sold under the coat. The series tells how certain prostitutes like Candy/Eileen (Maggie Gyllenhaal) moved from the asphalt to the seedy studios where the first super-8 adult films were shot. The beginnings of a flourishing industry… At the forefront of this cultural revolution, twin brothers who own bars serving as cover for the local mafia, Vincent and Frankie Martino (James Franco). Five years later, season 2 shows Eileen recognized for making films with artistic pretensions, complete with a script. The third and final burst of episodes, seven years later, shows how the pornographic world is changing with technological developments (minicamcorders, cassette players, etc.). An acid criticism of American consumer society, which never falls into solicitation, available on OCS.
“Losing Alice” analyzes the links between desire and creation
A psychological thriller and a dive behind the scenes of cinema. The Israeli series Losing Aliceavailable on Apple TV+, features Alice Ginor (Ayelet Zurer, seen in Daredevil), director out of inspiration, mother of three daughters, who forms a star couple of Hollywood cinema, with her husband, David (Gal Toren), a popular actor. While taking a suburban train near Tel Aviv, Alice meets Sophie Marciano (Lihi Kornowski), a 24-year-old author and admirer, who gives her a screenplay. The pretty and enigmatic screenwriter will gradually interfere in the life of the couple: Alice forms a toxic friendship with the young author and embarks on the chaotic adaptation of her screenplay. David is seduced by the charisma of the young woman and the promise of a role that could relaunch his career. But who is Sophie really? Is his manuscript pure fiction or autobiographical? Alice throws herself body and soul into the preparation of the feature film. At the risk of getting lost as the title announces? A reinterpretation of the myth of Faust of Goethe who analyzes the links between desire and creation.