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[First Look] Olivier Assayas Follows ‘Carlos’ With ‘Something in the Air’

Posted by , on August 2, 2012 at 11:07 am 

Olivier Assayas has been in high regard for over a decade, yet any director who just made Carlos — and, before that, the even-better Summer Hours — still has some big expectations to meet for his next effort. This was reflected, I think, in our top-ten placement of his “loosely autobiographical drama,” Something in the Air, on our most anticipated of the year list before we had any proper details. Now, however, it’s finally starting to come into focus.

With a Venice premiere slated for next month, PalaceFilms (via ThePlaylist), MK2, and Allocine have debuted some of the first new stills — a few small and blurry shots being the sole and, obviously, inferior exception — emanating a vibe that recalls Carlos more than I had expected. Granted, this is simply based on shots wherein teenagers run down the streets with nightsticks — of which we don’t know the true context — but, hey, I don’t remember Maggie Cheung doing that in Clean, either.

Given its hotbed political setting of early ’70s Paris, expect a lot of protesting, societal fissures, as well as “the political and artistic awakening of a group of young teenagers.” Assayas might end up recalling something like Godard‘s La Chinoise, and that’s a very good thing.

You can see them above and below, along with an official synopsis:

Set in the early 1970s, Gilles (newcomer Clément Metayer) is a high school student in Paris, swept up in the political fever of the time. Yet his real dream is to paint and make films, something that his friends and even his girlfriend (Goodbye, First Love’sLola Créton) cannot understand. For them, politics is everything: the social struggle all-consuming. But Gilles gradually becomes more comfortable with his life choices and learns to feel at ease in this new society.

The 69th Venice International Film Festival begins on August 29th; Something in the Air will be released later this year by IFC.

Does this small batch of stills present anything of particular interest? Have you been a fan of Assayas’ past work?


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