Acclaimed Hong Kong actress Maggie Cheung Man-yuk often lamented that the local film industry didn’t provide her with the opportunities she desired to showcase her full acting prowess. However, the two notable films she worked on with her then-husband, French director Olivier Assayas, gave her the chance to do just that.
- Irma Vep (1996)
The first collaboration between Cheung and Assayas, Irma Vep, is an intriguing art-house exploration of a director striving to remake an episode of Les Vampires, a renowned French silent film series revolving around a nimble thief who haunts the rooftops of Paris.
Cheung takes on a dual role in the film: herself and the character of Irma Vep, the leader of The Vampires crime gang. The film, both light-hearted and stylish, documents Cheung’s cinematic journey in a foreign country, where she encounters a diverse group of cast and crew, grappling with their individual challenges and desires.
The 1996 film emerged as a compelling piece of art, expertly balancing entertainment, wit, and provocation. Cheung donned a seductive latex costume for the film-within-a-film and quietly acclimated herself to the distinct pace and conversational style of European filmmaking.
Irma Vep allowed Cheung to present herself differently from the public’s perception of her in Hong Kong, showing her adaptability and flexibility as an actress. Assayas crafted the film specifically for Cheung, having been struck by her role in Wong Kar-wai’s Ashes of Time. The director saw in Cheung a movie star reminiscent of the old-school Hong Kong star system.
- Clean (2004)
Clean, an intense drama revolving around a recovering heroin addict, was the second film Assayas specifically penned for Cheung. Initially conceived during their marriage, the film was shot post their amicable separation.
Assayas felt the role in Irma Vep was too closely aligned with Cheung’s real self and wanted to devise a character that would allow her to explore her acting range. The outcome was Clean’s Emily, a heroin addict endeavoring to reform her life to regain her son’s custody. This role gave Cheung the latitude to explore a character’s emotional spectrum thoroughly.
Cheung’s portrayal of Emily won her the best actress award at the 2004 Cannes Film Festival. The role allowed her to infuse her own personality and experiences, despite their stark differences, resulting in a stunning, grounded performance.
Cheung relished working in France, where she wasn’t a known entity. She was treated as a regular working actress and felt integral to the production process. The role, however, took an emotional toll, leading Cheung to a deep depression after filming, and she vowed never to let herself sink into such a dark place again.
Clean marked the last time Cheung took the lead in a film, but her performances in Irma Vep and Clean will forever remain significant highlights of her illustrious career. These films bear testament to Cheung’s exceptional acting capabilities and underscore the exciting intersection of Eastern and Western cinematic landscapes.
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