Olivier Assayas’ Personal Shopper is a brilliant, hypnotic film – a ghost story for the modern era.
Pictured above are actress Kristen Stewart, and writer/director Oliver Assayas, who first teamed several years ago for Clouds of Sils Maria, another enigmatic, haunting film. Here, Stewart plays Maureen, who is – as the title plainly states – a personal shopper living in Paris whose interests lean more towards art history and personal discovery than the quotidian nature of her daily grind, as she zips from one high-end emporium after another, picking up jewels, designer clothing, and accessories for her demanding boss – Kyra, a high fashion model (Nora von Waldstätten), whom she almost never sees.
When Kyra wants something, she phones or texts, and Maureen runs and fetches, with little thanks and much haggling over her fee, leaving the items in Kyra’s apartment. But that’s just one strand of the film; all the while that she pursues these meaningless errands, Maureen is haunted (literally) by the death of her twin brother Lewis, a medium who made a pact with Maureen that he would reach out after death to make contact with her. Both Maureen and Lewis have congenital heart defects; in Lewis’ case, his heart gave out in his early 20s, and Maureen knows that her heart, too, could stop rupture at any moment, causing instant death.
In the cold, brutal world of the film, there’s no such thing as friendship, and even love is often deeply suspect, inasmuch as all the characters with the exception of Maureen are engaged in a deeply commercial, throwaway life style, in which dazzle counts for more than substance – as if they had any substance to begin with. In the film’s first third, Maureen alternates with nightly visits to Lewis’ now vacant house, in the hope that his spirit will manifest itself, intercut with endless trips on her motorbike on this or that errand for Kyra.
To say more would be to give the game away; let’s just say that as real and empty as the world of high fashion is in the film, so too is the supernatural domain, which is rendered in some eerily spectral special effects reminiscent of the unearthly inhabitants of a similarly dilapidated house in Lewis Allen’s classic ghost story The Uninvited (1944). As with Clouds of Sils Maria, Stewart is a revelation, and while she seems to nicely balance her career between mainstream films and even music videos for the Rolling Stones’ latest album, I certainly prefer her work here, given a role she can absolutely inhabit, in a performance which keeps her on screen for nearly every scene in the film.
Personal Shopper was actually shot in 2015; premiered at Cannes in May, 2016, where Assayas won Best Director for his work on the film, and is just now bring released in the United States on the art house circuit. In world in which everyone seems fixated on the latest installment in the Fast & Furious franchise, a thoughtful, suspenseful, and intelligent film is something of a rarity – more’s the pity – and fans who know Stewart from her work in the Twilight series and other commercial work will probably be disappointed in the film, which builds slowly and carefully to a superbly executed climax.
Much has been made of the fact that the film was “booed” by some audience members at its first Cannes screening, and this has inaccurately been reported as the sole audience reception at Cannes. Not so: as Chris Gardner wrote in The Hollywood Reporter right after the official Cannes premiere, “Personal Shopper, starring Kristen Stewart, received a four-and-a-half-minute standing ovation Tuesday night at the psychological thriller’s premiere at the Cannes Film Festival. Following the screening, a happy Stewart, who changed into sneakers after walking the red carpet in heels and a Chanel dress, was seen hugging her co-stars and the film’s director, Olivier Assayas, while the crowd applauded.
The Paris-set ghost story triggered both boos and applause when it first screened for critics on Monday. In the film, Stewart plays a young American in Paris who half-believes she’s in contact with her late twin brother. While discussing the Cannes competition entry during the festival, Stewart said: ‘It’s a ghost story, sure, but the supernatural aspects of it just lead you to very basic questions.’ As for the boos, Assayas, who also directed Stewart in 2014 Cannes competition entry Clouds of Sils Maria, said ahead of Tuesday night’s premiere, ‘It happens to me once in a while, where people just don’t get the ending.’ He added, ‘When you come to Cannes, you have to be prepared for everything.’”
And that includes people who want everything spelled out for them. If you want something that’s easily digestible, by all means head out to see The Fate of the Furious. But if you’d like something more thoughtful, and more elegantly constructed, with multiple layers of meaning and significance to peel back, please go go to the nearest art house and see this film. It’s a tonic in an age of empty glitter and flash; a human story set in an inhuman age, where machines – a prominent feature in the film is the endless array of digital gadgetry Maureen has to contend with everyday to get her work done – are the ultimate arbiters of our destiny.
Click here to see the trailer for this astonishing film.