This article offers a reconstruction of the birth of Asia Argento’s star image, with specific reference to the Italian context. Through an analysis of the media discourses that circulated around the actress in the early phase of her career (from the end of the 1980s to the 2000s), we can trace the evolution of her star image from enfant prodige of Italian cinema, and youth icon, to that of the ‘anti-star’ who strongly divides public opinion, owing to her unruliness on and off-screen. The article concludes that her pre-existing association with sexual transgression inflected how her behaviour with Harvey Weinstein and Jimmy Bennett was interpreted in the Italian public sphere.
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Century (dir. Sylvie Verheyde, 2012 ), a reinterpretation of Alfred de Musset’s autobiographical novel, a Franco-German co-production shot in Paris and the Auvergne-Rhône-Alpes region of France. Despite its French-language source text, this period drama was shot in English and featured British rock star Pete Doherty as the libertine Octave. Gainsbourg next had a minor, somewhat comic role as one half of a hedonistic lesbian couple alongside AsiaArgento in Yvan Attal’s comedy of manners Do Not Disturb (2012). Following Nymphomaniac , which was shot in Germany and
Wenders, Arnaud Desplechin, Benoît Jacquot and AsiaArgento; starred opposite Omar Sy in Samba ; and was cast in US productions including Independence Day: Resurgence and Norman (dir. Joseph Cedar, 2016 ). She also continued working with von Trier. Following her win in 2009, Gainsbourg presented The Tree out of competition on the closing night at the 63rd Festival in 2010 and also presented the Palme d’Or to Apichatpong Weerasethakul for his film Uncle Boonmee Who Can Recall His Past Lives . In 2011 Gainsbourg presented Melancholia in competition at the 64th