Irma Vep 1997

The narrative unfolds through the lens of René Vidal, a director grappling with the chaotic production of a film-within-a-film. At the center of this turmoil is Maggie Cheung, who portrays the intriguing character Irma Vep—a clever burglar and a spy, recognizable by her form-fitting black latex catsuit. The name “Irma Vep” cleverly unfolds as an anagram for “vampire,” although she is not meant to embody a literal vampire. Instead, she serves as the muse for a notorious criminal gang known as The Vampires, reminiscent of Feuillade’s classic serial.

As the production progresses, René views the dailies with increasing frustration, branding the footage as lifeless and devoid of spirit. In a fit of rage, he storms out, leaving Maggie isolated. She soon receives an invitation from the costume designer, Zoé, to join other crew members for dinner. During the meal, Zoé secretly expresses her romantic feelings for Maggie to another woman, leading to an embarrassing moment for Maggie.

After this gathering, Maggie finds herself visiting René at his hotel following a tumultuous incident with his wife. In a moment of vulnerability, René confesses that his motivation for making the film revolves around his desire to work with Maggie. Later that night, as if channeling her character, Maggie slips into the catsuit and breaks into a hotel suite, stealing jewelry while a naked woman argues on the phone with her partner. Shortly thereafter, she discards the stolen items.

The following day unfolds with Zoé retrieving Maggie from her hotel, while René fails to appear on set. The crew attempts to continue filming. As the day wraps up, the authoritative director José Mirano meets Maggie’s co-star Laure at a bar, revealing that René has suffered a breakdown and he has been brought in to finish the production. José dismissively argues that a Chinese actress should not embody the role of Irma Vep—an icon in French culture—and plans to replace Maggie with Laure.

Zoé and Maggie take a taxi heading towards a rave, but Maggie hesitates and ultimately opts out at the last moment, leaving Zoé disheartened as she enters the thrumming crowd alone.

In a gathering at the screening facility, José along with the cast and crew reviews the rushes meticulously edited by René. However, Maggie is noticeably absent, with whispers suggesting she has departed for America to work with esteemed director Ridley Scott. The film culminates with a surreal montage of rushes—each frame marred by scratches and alterations—leaving the fate of this production and its characters shrouded in uncertainty.