Demonlover (2002)
Directed by Olivier Assayas
A French corporation goes head-to-head with an American web media company for the rights to a 3-D manga pornography studio, resulting in a power struggle that culminates in violence and espionage.
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What critics compared Demonlover to
It also reminded me of something Olivier Assayas talked about on Sunday , regarding his films Demonlover and Personal Shopper, which both have a significant relationship to technology.
But that author’s dystopian premonitions are just one aspect of its genre alchemy, a stylish mash-up of Ghost In The Shell , Inception , Under The Skin , and Olivier Assayas’ corporate-espionage thriller demonlover .
Alternately, a film like Olivier Assayas' demonlover opts away from an emphasis on psychology and even torques its own narrative, much like Miami Vice does, but it braces together strong, succinct impressions of its characters as they discover how vast, debased, and media-saturated the world has become.
I’d love to report that Olivier Assayas’ Personal Shopper (Grade: B-), which set off a chorus of disapproval at its press screening last night, is a misunderstood masterpiece—or even that it’s as strong as Assayas’ hugely divisive techno-thriller Demonlover , which got booed here back in 2002 (my very first time at Cannes).
Assayas es un realizador estimable, pero a veces le da por ponerse conceptual (ese fue el caso de su anterior tropezón en Cannes, Demonlover, de 2002).
The French director behind Carlos and Demonlover has described his latest as a “collage,” but in truth, it’s a pile of scraps that never quite coheres.
Here, as in the manic “Demonlover” (2002), Assayas is onto something—the uncontainable means by which modern communications may be binding us together not as one friend to another but as extortioner to victim, predator to prey, or dead to quick.
The premise is ludicrous, but not unexpected from Assayas, a restlessly inventive filmmaker whose sinister global thrillers Demonlover (2002) and Boarding Gate (2007) likewise pivot on absurd plot points to plumb 21st-century malaise and disorder.
To watch a triple bill of “Irma Vep,” “Demonlover” and “Summer Hours,” to name three of his more memorable works, is to embark on a six-hour journey from the playful to the sublime by way of the completely deranged.