Thank god that at least there are a few Frenchmen, like Olivier Assayas, who get that life is beautiful even when (or especially when) it's drenched in blood. Assayas makes movies that move and feel like ambient techno music: glacial emotions and settings, rapid tempo stream of conscious flow editing and magnificent paranoid foley work cohere and swirl. As characters walk around crowded hallways there's a constant flow of parties, cash registers, and other sounds from every hole in the wall they pass, the kind of thing Orson Welles fought to keep in TOUCH OF EVIL but lost, the real noises of this crazy world. In attempting a futurist neo-realism, he shows us just how bizarre our lives have become. He makes it seem ironic that science fiction movies are built on sets when the real world is right now far more complex and cyber-delic than anything one singular human mind could e'er imagine. Assayas provides a link wherein even corporate work and air travel becomes sexual and dangerous, futuristic. He knows where to point the camera to make the familiar resonate into the uncanny, the everyday into the post-modern and sinister.
His latest, BOARDING GATE (2007), returns to the world of corporate espionage in catsuits that won him mixed reviews with DEMONLOVER (2002). Superstar Asia Argento is great here playing a cross between her strung-out exhibitionist more-or-less self in SCARLET DIVA and the role which helped make her an international sex symbol, the influential-but-little-seen cult film NEW ROSE HOTEL (1998).
Based on a short story by William Gibson and directed by Abel Ferrara, HOTEL was set in a dystopian future where international corporations had replaced government and everything from banking to boarding room negotiations were done via camera phones. It starred Christopher Walken and Willem DaFoe as two corporate spies-for-hire who recruit Asia's duplicitous and irresistible prostitute to seduce and betray a married Japanese researcher. They find Argento at a hip bar where the DJ is playing Cat Power in all murky cool Bozan Bajeli reds. Assayas clearly loves NEW ROSE HOTEL or parts of it. The son of Jacques Remy, Assayas has captures the child's eye view of jet set privilege, being shuffled through futuristic airport terminals and off to weird meetings and culture shock shopping malls without hardly knowing why or how soon you will get to rest and have a coke. Parents, nannies, porters, and a hostile but fascinating swirl of international commerce going on all around his eggshell mind.
Critics say that for all his innovations, but that's hardly relevant; if he riffs on other's work, it's cool because he steals only from the very best. Using the template of Godard's ALPHAVILLE (modern business architecture and practices as science fiction) and the sexy late night with unlimited mini-bar expense account decadence of Ferrara's HOTEL, he joins them together at the USB port where Argento's own SCARLET DIVA wanders in exile.
One thing Assayas does better than all the rest, Godard included, is transmitting the sense of emotionless futurism that comes from being drugged out on international flights: following the protracted hook-up and assassination of Michael Madsen comes a bravura montage of Asia (Argento) on an overnight flight to Hong Kong (the city), the television on the back of the seat hawking the tourist spots seem strange and alien in ways only Assayas can deliver. He also sjhows the weird intimacy that develops between passengers sleeping next to each other in a darkened cabin for hours and hours; Asia climbing over sleeping Chinese people to get back to her seat; waking up cuddled against the old man next to her and not feeling good or bad about it, how in this one situation, there's still such a thing as a communal slumber party of all ages and nationalities, Grabbing a bottle of water off the stewardess's tray at what seems like the dead of night, but then opening the window shade and the harsh white rays of the rising sun blast in like a laser.
If you have seen DEMONLOVER you remember the opening with the water on the plane and this leads to a sense of overall paranoia which Assayas clearly loves playing with, exploiting for our mutual benefit. Most of all he has an eye for Asia Argento, perhaps the perfect queen of the Assayas universe (which she helped birth, after all, via HOTEL). Maggie Cheung and Connie Nielsen could only do so much with their catsuits and slinky stares; Asia
is this sort of person, this cat woman espionage agent: like Assayas she has a famous filmmaker dad (Dario) and a penchant for "stealing" shots at airports for maximum free sci fi affect. And just like her character in GATE, Argento lives the life of a jet setting debauched intellectual artist forever maneuvering her way through the tangled web of vice and male desire for her own exhibitionist fun and profit! It's who she is... in real life...
If such a thing still existed.
It's true; the whole Acidemic thing got started because of Asia Argento. It was 2003 or so. We were in love with her from SCARLET DIVA onwards. Her sheer reckless bravery was the inspiration behind Acidemic. We wanted to make something worthy of her. She was set to do our cover story/interview and even sent us cool self-portrait photos. Then, we lost communication. It was around the time her HEART IS DECEITFUL ABOVE ALL THINGS premiered at Cannes and got trashed by the critics (a lot of whom have since come around and praised it). We figured she just had to hole up somewhere and cut loose the inessential strings until the heat died down. Hell, we did that all the time ourselves.
