No-budget cinema par excellence, this squalid little cyberpunk epic consistently surprises with its intelligence, its cool, and its forward-thinking. This is as good as shot-on-video regional productions get.
The praise that's been showered upon this movie is mystifying to me. It hasn't been merely embraced by the hipster set, but also by mainstream critics. For me, it was a flatliner: an empty container made frilly by hipster posturing and the kind of longueurs that give 'longueur' its largely negative connotation.
As with Jim Jarmusch's likewise overrated ONLY LOVERS LEFT ALIVE, this seeks to breathe the kind of off-kilter, culturally aware new life into the vampire genre that filmmakers…
Maggie Cheung cat burgling across the rooftops of Paris in nighttime rain illuminated by artificial light sources looks a certain way on 35mm that cannot be duplicated on any other medium.
In the moment, IRMA VEP feels like a trifle. A day after watching, I’m still thinking about it. Very special, and a worthy peer to films like DAY FOR NIGHT and ROAD TO NOWHERE.