And as Peter Debruge noted in part in his review for Variety, the film had an unusual genesis. According to Debruge, “after collaborating with Assayas on 2008’s perfect, albeit ultra-safe Summer Hours, actress Juliette Binoche challenged the director to write a part that delved into genuine female experience. Though deceptively casual on its surface, Clouds of Sils Maria marks his daring rejoinder, a multi-layered, female-driven meta-fiction that pushes all involved — including next-generation starlets Kristen Stewart and Chloë Grace Moretz — to new heights.
Binoche plays Maria Enders, a 40-ish movie star approached about appearing in a fresh staging of the play Maloja Snake, a film adaptation of which launched her career two decades earlier. This time, she’s being asked to interpret the older role — a burnt-out, middle-aged businesswoman manipulated by her young female assistant. Maria has always identified with the other character, the one she played at age 20, whereas the role of the has-been is haunted by her previous co-star, who died in a car accident a year after they shot the movie . . .
As the film opens, Maria is traveling with her assistant Val (Stewart) to accept an award on behalf of her close friend and mentor, playwright Wilhelm Melchior (a provocateur loosely inspired by Rainer Werner Fassbinder, whose film The Bitter Tears of Petra von Kant echoes below the surface here). En route, while dealing with the particulars of her in-progress divorce, Marie receives word that Melchior has died, dredging up an unpleasant figure from her past, an old co-star named Henryk Wald (Hanns Zischler) whose desperation provides a horrifying glimpse into where her own career could be headed.
For this and her myriad other insecurities, Marie has Val, the hyper-reliable young woman who serves as her minder, mother, therapist and rehearsal partner. It is Val who talks her nervous boss into doing the Maloja Snake revival, dragging Marie to a studio-produced superhero movie just to see Jo-Ann Ellis (Moretz), the edgy young actress tapped to play the other part. Running lines from the play, Marie and Val may as well be describing their own sexually charged codependency, so perversely does the dialogue fit the pair’s own increasingly unhealthy dynamic.
At times, Val excuses herself to visit a photographer boyfriend (although a weird mountain-driving montage suggests she may simply need to get away when the connection becomes too intense), until finally, she seems to disappear altogether, just one of the many mysteries woven into this rich and tantalizingly open-ended psychological study . . .
Ultimately, Stewart is the one who actually embodies what Binoche’s character most fears, countering the older actress’ more studied technique with the same spontaneous, agitated energy that makes her the most compellingly watchable American actress of her generation . . .
Sils Maria reaches for the stratosphere — which incidentally, is where most of the film takes place, high in the Swiss Alps, above the clouds. From this celestial vantage, Maria and Val are free to observe the real Maloja Snake, a seething meteorological formation that sends clouds winding serpent-like through a valley lined by mountains on either side.
In addition to documenting this spectacle afresh, Assayas unearths an old 1924 silent movie by German director Arnold Fanck, the sort of relic that makes one grateful someone thought to capture this mesmerizing phenomenon on film. Binoche leaves audiences with the same exhilarating feeling here — of having witnessed something precious and rare — answering the challenge of Assayas’ script by revealing a character incredibly closer to her soul.”
With links not only Fassbinder and American pop culture films, as seen in the film-within-a-film ostensibly starring Chloë Grace Moretz, as well to Peter Weir’s Picnic at Hanging Rock and Michelangelo Antonioni’s L’Avventura, Sils Maria instantly jumps into my Top Ten List — in which there are, admittedly, 250 films at least – and is a work of mysterious, mesmerizing brilliance, which should be seen by everyone.