Olivier Assayas’s Irma Vep begins with a jolt. An office whirs and buzzes with talk of budgets, location scouting, and audition tapes. Immediately, the audience plunges into a meta-narrative with various Hollywood tropes. This continuous opening shot makes its rounds about the office before resting on Maggie Cheung, who plays herself. She is the perfect subversion of the French ingénue. She is an established actress while maintaining an innocent quality. She is young but mature beyond her years. As the narrative in the film reminds us over and over again: Maggie is from Hong Kong, much to the dismay of the obstinate traditionalists working on the movie who would have preferred a true French starlet.