The catsuit is the key. Watching Mira slink about it across multiple episodes reveals how this evolves the original concept (even if it can [perhaps knowingly] capture the lightning in the bottle results of the original's guerilla production). No longer reserved for a single sequence, instead we watch multiple times and in these we see her capable of phasing through walls. The boundaries are breaking down. The film is a TV series is an "8 hour movie" is a collection of narratives assembled from the contemporary times, overlaid visions and memories of a time over 25 years ago and the work produced then, snippets of Feuillade's original and reimagining's of what it could have been liking to actually be producing that as narrative cinema was in the process of defining itself. The cumulative result is one of the most exciting and emotional works that anyone could bear witness to this year, Assayas' ever nimble filmmaking never ever being carried off with such lightness to reduce it to a mere trifle. Watching Irma Vep is to take a tumble through the various layers and to give yourself over to it. It's both a ghost story and a reminder that ghost stories are never strictly in the past, they can exist alongside in the now, by our sides, long after they've faded away and as more are being created around us whether we know it or not; watching someone's speech upon the occasion of wrapping but whose to say they're really gone. No one's ever really gone, you are your ghosts and your's is part of them.