1996s “Irma Vep” saw Olivier Assayas contribute to a rich tapestry of meta cinema stretching back to Federico Fellini’s 1963 masterpiece “8½.” Itself drawing upon François Truffaut’s metafictional “Day For Night” as a direct source, the film followed René Vidal, an over-the-hill film director whose recent output has descended into alienating pseudo-intellectualism, and his attempt to remake the classic French film serial, “Les Vampires.” Introducing veteran of Hong Kong cinema, Maggie Cheung, to a western audience, playing herself as an actress cast in the fictional director’s film as Irma (keeping up?), Assayas’ film contemplated the nature of the creative process, using its verité aesthetic to capture the mania of a film set while also providing a broader meditation on the state of modern French cinema.
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