Daily Plastic: Summer Hours

Movie	Our Take	Other Takes
Summer Hours Trailer . IMDB	With Summer Hours Assayas harks back to his earlier films — which is appropriate, given the themes — for a meditation on our accumulated personal objects. They carry our family history, reflect our decaying bones, and often outlive us. Robert Davis Paste Magazine	Economy of objects: A domestic return for writer-director Olivier Assayas after a trinity of films — demonlover, Clean and Boarding Gate — explored webs of international intrigue and commodity exchange, Summer Hours nevertheless reflects the filmmaker’s continued interest in the way that contemporary relations evolve with the expanding global economy. Eric Hynes Stop Smiling It’s this kind of logic that there is something bigger than us that is “the economy” that creates a world that is going in a direction no one has any control on, because the economy is some kind of living organism that is taking over people’s lives... Olivier Assayas director of Summer Hours Underneath the mundane exchanges here, great forces are at work — globalization, the disintegration of a culture, and the triumph of economic forces over art. But masterpieces make their own rules, and Summer Hours is spare, glancing, tactile — sui generis. Assayas began his career making movies with gentle tempos but is coming off a slew of extroverted, erotic, sensationalistic dramas and thrillers in which his subjects seemed caught on the fly and his camera fetishized everyone. Those films — rewarding but motley — have freed him. David Edelstein New York Magazine The skittish, semi-tragic characters of all of Assayas are still here, but contrasted for the first time in a while not with their own environment — the New World of globalization — but rather with the weight and meaning of old, physical things, invested with personal remembrances and value. Daniel Kasman The Auteurs

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