At some point, we’re going to have to admit that Olivier Assayas is a very important, world-class filmmaker. It would be a shame if we needed twenty or thirty more years to appreciate ‘Irma Vep’, ‘Demonlover’, ‘Boarding Gate’, or ‘Summer Hours’. What, you’ve never heard of them? Alas, my point.
“Over the past quarter century or so, Assayas has emerged as a mainstay of what might be called the middle generation of post-New Wave French auteurs — filmmakers who still labor in the shadow of a heroic band of ancient young rebels, many of whom have shown remarkable, even maddening longevity. Erich Rohmer and Claude Chabrol, part of the groups that burst out of Cahiers in the late 1950s and early ’60s, died this year, at 89 and 80. Jacques Rivette, Agnès Varda and Alain Resnais are all still around, in their 80s, as is Jean-Luc Godard, perpetual imp and inscrutable sage of le cinéma français, who may or may not show up to collect an honorary Oscar in November.
“Assayas, a slender, silver-haired man of 55, with a feathery voice and a slightly nervous manner, is part of a consciously late-born cohort. He is the author of a slim memoir called “Une Adolescence dans l’Après-Mai”— Mai being the talismanic month in 1968 when to be young and French was very heaven — and has a skeptical, post-’60s approach to politics and art. His films — there were 12 features before “Carlos,” as well as shorts and documentaries — are cerebral and personal but also highly eclectic and sometimes characterized by a cool, sleek eroticism. They fit into established genres, and yet they don’t. “Carlos” is a globe-trotting thriller; “Late August, Early September” is a tale of 30-something romantic indecision; “Cold Water” is a coming-of-age story; “Irma Vep” is a behind-the-scenes comedy about moviemaking; “Clean” is a melodrama of recovery. But in each case the stories veer away from expectations, and nearly every scene carries nuances that thwart assimilation.”
http://www.nytimes.com/2010/09/26/magazine/26assayas-t.html?hpw