In the role, Stewart doesn’t act so much as inhabit a persona. She’s a full-body actor, her hands and arms and shoulders and back working as hard as her mouth and her eyes. As Maureen, Stewart broadcasts a crushing insecurity, a discomfort with even the simple act of being alive; she’s constantly opening beers and brewing coffees and then leaving them behind unconsumed. (The only liquid we see her drink with any ease is straight vodka.) During the film’s most frightening scene, she’s practically animalistic, reacting to a spectral threat like a dog might; the scene ends with her curled up on the ground. It’s a committed performance, but more than that, it’s a deeply felt one. The movie deliberately blurs the line between Stewart and Maureen, leaving her tattoos uncovered and dressing her in a style reminiscent of how she dresses in real life. In interviews, Assayas has been giving Stewart co-authorship of the film, and it’s not hard to see why.
Friday, March 10, 2017
Getting Impatient, Waiting For "Personal Shopper"
I can't wait until "Personal Shopper" arrives. The Assayas-Stewart collaboration is producing the best movies of this century: