Olivier Assayas was given the key of his film, saying, “Kristen Stewart had inspired him with this scenario”. Around it, it embroiders loosely a story about the mourning of the mode and texting. We will return if one is looking for a development pronounced. PERSONAL SHOPPER transpires to actually the desire to want to shoot Kristen Stewart. True green in his honor, it appears under all the seams, sometimes in scenes of banality, which can lead to caution. To the point of getting to be framed only at the level of the fingers. The bet is dared until the plans come back and do not offer any pleasure for our eyes. But what we said Assayas is full of love for his new muse : with her fingers, she expresses her magnetism.

PERSONAL SHOPPER is even confusing in its way to mix up the horror and the intimate drama. In its best moments, the film is really efficient when the night fell, Maureen tries to communicate with the spirit of his brother. With a nothing, Olivier Assayas package scenes that make up the trouillomètre quickly. A little dark, noise the round is played to make us tense up on the chair. When we know that cinema horror is struggling in our country, to see an author confront the codes of the genre can not but rejoice. The French director packs these scenes as moments of horror then it is only to communicate with a deceased brother – a caring person. We regret that it falls in a facility visually by showing the spirits in the form of ectoplasm, which suddenly brings back the film on the path of superficiality while he is in a constant and judicious search of realism. While the beautiful idea was precisely that of the last act : to show the brother in human form, in the blur of the background.

PERSONAL SHOPPER is the tempering of the films that escape us. Those who remain in you, without that we can truly understand why. Exactly the same effect that we had made the spellbinding Valley of Love a year earlier (a film for which he is, as by chance, possible to weave many links). When we think of getting to grasp it, to understand mechanisms by which the charm operates, we lost our tower in the meanders of our questions. Nothing is tape-to-eye and yet the impression remains that rarely the movie we had delivered such a proposal combining a form that is stripped and an aura that is captivating. As this way asked that Assayas to film an invisible presence in the process of leaving a hotel. The plans are fixed, mundane, just observers of an event imperceptible by most people. Perhaps it is because it succeeds as well to capture something of the elusive that the film is also strong. It is also necessary that the spectator be able to take the singularity of the film, that he agrees to give up in the face of the images for dare to accompany Maureen in her loneliness to achieve his or her grief.

“Kristen Stewart has never been so sublime under the camera, with Olivier Assayas.”

You’ll be that you’ve reached when you will get to the point of forgiving the film its flaws (the lack of smoothness of the speech of a secondary character on the spirits that could probe our souls, the scenes of spiritualism with Benjamin Biolay in Victor Hugo, the special effects doubtful), the build may be a bit higher than what he really deserved. But it doesn’t matter. In one scene, Olivier Assayas proves that his project is legitimate. When, after his many journeys, his many text messages sent to you, Maureen came to rest in a fixed frame, facing the camera. No artifice, no style effect. She spent the whole movie wanting to be dressed with clothes of luxury to be someone else, finds himself destitute, “undressed”. At this moment there are more than Maureen, there is that Kristen Stewart. She, the actress, in the obligation to express his talent to keep a scene intense. If she has since proved that she was emancipated from its past of star for teens, it has never been so sublime under the camera d’Olivier Assayas. Successful bet, so.

Published on may 18, 2016.

Maxime Bedini

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