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Clouds of Sils Maria (2014)

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A film star comes face-to-face with an uncomfortable reflection of herself while starring in a revival of the play that launched her career.

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19 wins & 41 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Actress in Sci-fi Movie
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Piers Roaldson
Aljoscha Stadelmann ...
Urs Kobler
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Maria's London Assistant
Stuart Manashil ...
Maria's Agent
Peter Farkas ...
Journalist in Zürich
Ben Posener ...
Journalist in London
Ricardia Bramley ...
Talk Show Host
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Storyline

At the peak of her international career, Maria Enders is asked to perform in a revival of the play that made her famous twenty years ago. But back then she played the role of Sigrid, an alluring young girl who disarms and eventually drives her boss Helena to suicide. Now she is being asked to step into the other role, that of the older Helena. She departs with her assistant to rehearse in Sils Maria; a remote region of the Alps. A young Hollywood starlet with a penchant for scandal is to take on the role of Sigrid, and Maria finds herself on the other side of the mirror, face to face with an ambiguously charming woman who is, in essence, an unsettling reflection of herself. Written by Cannes Film Festival

Plot Summary | Plot Synopsis

Genres:

Drama

Motion Picture Rating (MPAA)

Rated R for language and brief graphic nudity | See all certifications »

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Details

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Language:

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Release Date:

20 August 2014 (France)  »

Also Known As:

Sils Maria  »

Box Office

Opening Weekend:

$61,810 (USA) (10 April 2015)

Gross:

$1,811,138 (USA) (26 June 2015)
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Company Credits

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Technical Specs

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| (archive footage)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Johnny Flynn previously worked with Olivier Assayas on Something in the Air (2012). See more »

Goofs

In the opening, the characters are riding in what is clearly a second-class rail car. This would be completely out of character, given what we see later in the movie. See more »

Quotes

London Theater Assistant: [Last lines] Curtain in five minutes.
Maria Enders: How's the house?
London Theater Assistant: Full.
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Crazy Credits

During the closing credits, four of the actors are shown under the heading "guest appearance by". See more »


Soundtracks

Concert at the Waldaus
Composed by George Frideric Handel
Performed by Phoebe Lin (cello), Katarzyna Nawrotek (violin), David Seghezzo (oboe) and Claire-Anne Piguet (harpsichord)
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Frequently Asked Questions

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User Reviews

 
Strong, provocative, intelligent work of art (not for everyone)
18 April 2015 | by (United States) – See all my reviews

If you are a big fan of Magritte and Escher, of the writer Sebald, of Pirandello and Philip Glass and maybe the film "Koyaanisqatsi", I predict that you will love this film. If, on the other hand, you can't see the point of any of these and believe only in Aristotle's six elements of drama, there are many other excellent films you will like much better. It's a matter of taste.

In this film, writer/director Assayas deliberately blurs the distinctions between a number of levels. You start with people in the business of theatre and film: Marie Enders (Binoche), an experienced and celebrated actress, and Valentine (Stewart), her young, busy, competent personal assistant, and the people in Marie's past, living and dead.

Then there is the level of the characters in the play "The Maloja Snake" of twenty years ago, when Marie played the young and cruel Sigrid who loved and crushed her middle-aged employer, Helena. There is the level of the characters of the same play today, in which director Klaus Diesterweg (Lars Eidinger) hopes to recruit Marie to play Helena, possibly with a different take on the characters' motives and psychology, and in which Jo-Ann Ellis (Moritz) is eventually cast as Sigrid.

And there is also the level of the real human world, including events in the life of the real Kristen Stewart, which have striking parallels in the life of the fictional Ellis; the same seems to be true of Binoche and Enders, and I have read that "The Maloja Snake" is a parallel world version of Fassbinder's "The Bitter Tears of Petra von Kant".

Spanning all these levels are the the real Switzerland and its real mountains and clouds, including the real Maloja Snake, a cloud phenomenon which was the subject of a black-and-white short film in the 1920's which is excerpted in Assayas' film and which can be seen on YouTube. The Internet spans all these levels too, and all the characters in the film are busy with texting and Skyping and Googling and checking out and fixing their IMDb info.

And then the work of playing characters, of determining and managing emotions, of arguing about what really motivates real or fictional or play-within-a-play fictional characters, either within the industry of the creative arts or not, also bridges the levels. We are constantly aware of the analogies and reflections among Valentine - Maria, Sigrid

  • Helena, Jo-Ann - Maria, and so on. Readings of lines take place, in


which you sometimes wonder what level you are on, and we see a lot of the details of the creative discussions which must go into the production of plays or for that matter, not incidentally, movies such as "Clouds of Sils Maria". If you get lazy and suspend your disbelief and allow yourself to mentally presume that "Clouds" is a comprehensible narrative of the real world, Assayas will bring you up short without any ceremony.

So, does that kind of thing strike you as artistically intriguing or intellectually exciting? If it does, see the movie. It will give you a lot to think about and appreciate and puzzle about and discuss afterward. (The Swiss tourist board will thank you also.) If it seems a bit dry and abstract, well, you are fairly warned.


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