Clouds of Sils Maria


Action / Drama

Rotten Tomatoes Critics - Certified Fresh 89%
Rotten Tomatoes Audience - Upright 71%
IMDb Rating 0 10 0


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February 05, 2015 at 07:25 AM


Chloƫ Grace Moretz as Jo-Ann Ellis
Kristen Stewart as Valentine
Juliette Binoche as Maria Enders
Brady Corbet as Piers Roaldson
720p.BLU 1080p.BLU
870.91 MB
24.000 fps
2hr 4 min
P/S 0 / 7
1.85 GB
24.000 fps
2hr 4 min
P/S 7 / 29

Movie Reviews

Reviewed by cyberalpine 8 / 10


Ambiguity is the key world of this film. You are the major actor in the sense that your interpretation makes the film. Each scene is so ambiguous that you can always interpret it in various manners so in the end _you_ are the director. When Maria and Val work on the text, rehearse the play, the feelings are so mingled that you are the one who decide if they are those of Helena- Sigrid or rather Maria-Val. Reality is entangled. I loved the Alps hiking shots and overall the mysterious Maloja snake. I would have rated it a 9 to the Writer-Director Olivier Assayas but reduced it to a 8 because I was disappointed in Juliette Binoche's performance. She is usually better than in this film, it is as if she didn't feel like acting this character, a bit like what happens in the film itself. At several occasions her laugh is artificial and fake. She is obviously ill at ease in this character, which proves what I wrote before about entangled reality between the film itself and the play prepared in the film. I'm not sure I am very clear but those who have seen and felt/perceived the movie as I, will understand.

Reviewed by Mace 8 / 10

An intelligently crafted, and entertaining, drama

While maintaining a sleek art-house-esque aesthetic and narrative, Olivier Assayas' Clouds of Sils Maria explores complicated human emotions, as well as sociological change, in a rather simplistic way. The result is a gorgeously organic and thought- provoking film that manages to thoroughly entertain, as well as inform.

Juliette Binoche is a powerhouse of talent as usual, but who certainly surprises is the often understated Kristen Stewart, who, proved here, can work brilliantly with well- crafted material placed before her. The chemistry between Binoche and Stewart is simply electric, not only propelling the narrative forward, but making any potentially dull scene deliciously biting with their whip-cracking banter. It's not often that two actors so naturally play off of each other this effectively, to a point of wishing that their shared portions of the film were longer.

Despite the crackling script and tantalizing character drama, there is a 20 minute epilogue that grinds the film's hefty momentum to a halt. While it is most definitely a necessary sequence for the story, it's lack of real substance is only amplified by the time it lasts on-screen. A middle-credits sequence would've left ample space for the story of the epilogue, but for whatever reason, Assayas stretched the finale of this intriguing story until it practically began to tear under the brilliance of the rest of the film.

While arguably not quite as realized as Assayas' second effort with Stewart, Personal Shopper (2016), Clouds of Sils Maria is an impressively audacious study of mainstream film and celebrity status that is made rich and layered by the convicting chemistry between the film's leads. It's all so undeniably impressive, to a point where the director's shortcomings become all the more apparent, and in turn, more frustrating.

Reviewed by nancyl-clark 9 / 10

Older Maria vs. Younger Maria

The title refers to a town in Switzerland - Sils - where beautiful cloud formations hover and shift over the landscape. Our heroine Maria stays in the town while trying to sort out her feelings about a new play she is going to perform. She has come to the realization that she is no longer her "younger" self, and she does not quite understand who she is now. The title is a reference to the mental and emotional clouds that hover and shift over her or alternatively the "clouds" that she herself creates during her visit there.

I will not repeat the entire plot here since every other review goes over that quite well. Suffice it to say that the older woman is Maria (Juliette Binoche), her young assistant is Valentine (Kristen Stewart), and a younger actress is JoAnn (Chloe Grace Morentz). Maria is cast in a play as an older woman who is seduced and manipulated by the younger actress, JoAnn. Since Maria once starred in the very same play in the younger part, she is at a loss how to approach playing the older woman. Her assistant Val tries to convince her that she can bring something special to the part, while Val also validates the talent and importance of the younger actress and her part. This is a formulation that Maria cannot, somehow, understand.

Spoiler Alert:

Val becomes increasingly frustrated that she cannot make Maria see the value of both the older and younger parts and she finally exits the movie in an abrupt and unexplained manner. This has given rise to many theories and I have my own. We can take the exit quite literally, but there is another level of interpretation to consider. In the story, I think that Val actually represents the "young" Maria, trying to tell her older self that she has gained something worthwhile through aging. Val has the qualities that Maria misses from her younger self - freedom, daring - but she has gained knowledge and wisdom that no longer allows her to "dare," since she has a firm understanding of who she is and what she can do. She actually has freedom she has earned in her career, and daring makes no sense when she has a complete understanding of her strengths and weaknesses. Val exits the movie when she realizes that she has done all she can do to make Maria aware of this. Maria is just not open to that understanding. Or perhaps she is, and Val is no longer necessary?

At the very end of the film, as Maria is still trying to find her voice, she asks JoAnn to make one small change in her performance to extend some grace to Maria's character in the play. It is the same gesture that Maria made when she played the younger woman, to allow the older character to exit the scene with some dignity. JoAnn flatly refuses, mocking Maria. At that point, Maria should come to understand that the difference between them is not age, but of character. Val was right, Maria should not covet her youth but she should value her own character and experience. It is not clear whether Maria finally understands this, perhaps too late?

This movie has so many layers that you may continue thinking about it for quite a while, or you may just give up. But it is a very useful contemplation of age, and all of the actresses give outstanding and very distinct performances.

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