Tipped to be one to watch at Cannes, the daughter of a rockstar recently acted shoulder-to-shoulder with the Academy Award-winning Alicia Vikander. Schooled by the actress on set and with the supportive eye of Olivier Assayas, Devon’s method has blossomed. It reminds us of Kristen Stewart, who also appears in the series. Both never knowingly over-act. The value of these actresses being in their subtlety and beauty. Devon is the child of Craig Ross, Lenny Kravitz’ guitarist, and a 90s model, Anna. Modest, yet determined Devon Ross released music with a friend before now turning to acting, telling us she “really fell into this role”. We can’t wait to see what comes next. Becoming a Bardotesque muse for some 21st-century Godard would be ideal.
At home, what she holds dear remains her guitar and record collection, along with historic memories of the 60s and 70s rock n roll lifestyle explaining, “the older generation would burn rock records saying it was the devil’s music!” likely read in the pages of her vintage Rolling Stone magazine collection. Now Irma Vep hardly rebels appointing 80s band Sonic Youth to compose its score and soundtrack. Along with music knowledge, Devon knows her French new wave and black and white cinema too, passing the arbitrary interrogation. This interview displays her laid-back and evasive style evocative of the rockstars of old. Who we have “a lot to learn from” although, we haven’t put our finger on quite what yet.
The self-referential nature of the film Devon Ross stars in is mind-boggling. Irma Vep was first released in 1996 as a film inspired by the 1915 silent three-part serial Les Vampires. In 2022 the HBO series or long film as the trailer, Devon Ross and the director Oliver Assayas will have it, is a remake of his own 90s treasure. As the series commentates the making of a series from a film the acting director created, it reflects the real director’s genuine journey. What’s more, Irma Vep is an anagram for Vampire and the name of the sexy liberated catsuit clad lead, Anna. Devon’s character Regina assists Irma Vep off-set, and it’s the prime position for not-acting acting. This real and unreal understudy recites exciting concepts about cinema to a captivated audience. If the intention of cinema or series is escapism, it’s here. But it also makes us think. It screams of the value of not over- cooking your performance. The series within the series is a trainwreck hurtling into a The Room sort of space, we are relieved when the actors get back to acting as actors and not as their characters.
At home, what she holds dear remains her guitar and record collection, along with historic memories of the 60s and 70s rock n roll lifestyle explaining, “the older generation would burn rock records saying it was the devil’s music!” likely read in the pages of her vintage Rolling Stone magazine collection. Now Irma Vep hardly rebels appointing 80s band Sonic Youth to compose its score and soundtrack. Along with music knowledge, Devon knows her French new wave and black and white cinema too, passing the arbitrary interrogation. This interview displays her laid-back and evasive style evocative of the rockstars of old. Who we have “a lot to learn from” although, we haven’t put our finger on quite what yet.
The self-referential nature of the film Devon Ross stars in is mind-boggling. Irma Vep was first released in 1996 as a film inspired by the 1915 silent three-part serial Les Vampires. In 2022 the HBO series or long film as the trailer, Devon Ross and the director Oliver Assayas will have it, is a remake of his own 90s treasure. As the series commentates the making of a series from a film the acting director created, it reflects the real director’s genuine journey. What’s more, Irma Vep is an anagram for Vampire and the name of the sexy liberated catsuit clad lead, Anna. Devon’s character Regina assists Irma Vep off-set, and it’s the prime position for not-acting acting. This real and unreal understudy recites exciting concepts about cinema to a captivated audience. If the intention of cinema or series is escapism, it’s here. But it also makes us think. It screams of the value of not over- cooking your performance. The series within the series is a trainwreck hurtling into a The Room sort of space, we are relieved when the actors get back to acting as actors and not as their characters.
