In Review!: “Personal Shopper”

Olivier Assayas’s Personal Shopper is its own unique form of thriller, as much a Hitchcockian psychosexual mind game as it is a thoughtful meditation on grief and the afterlife. Supremely at home in Assayas’s singular and graceful style of his films slowly revealing themselves, Shopper is deceptively slight while being fully loaded. It’s tough to grapple with what the film is doing in the moment (and still tricky on the other side of seeing it), vacillating from genuine horror to depressive character study to something else entirely in short span – but the film casts an invasive and ethereal spell.


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In Review!: “Certain Women”

Kelly Reichardt is our chief purveyor of the American western landscape, creating films such as Wendy and Lucy and Meek’s Cutoff that also bring women to the forefront. Her latest, Certain Women, is a triptych of female-led stories (from three disassociated short stories by Maile Meloy) that examine this geographically located kind of woman and the unique dispositions that result from their environment. If Reichardt’s films have been desribed as remote or chilly, Certain Women has a more easily accessible wealth of complex emotion and intellect beneath its stoic gaze.


Each of its three chapters feature women not saying what they are thinking or feeling, whether out of frustrated ambivalence (Laura Dern), familial politicking and shame (Michelle Williams), or lack of relational knowhow (the gloriously present newcomer Lily Gladstone). With only circumstantial ties binding them, its Reichardt inquisitive and patient hand that make these disparate pieces feel like a complete whole. The result is fascinating to chew on as the film lingers, if not always easy to reconcile – the parts are mostly more incisive than the whole.

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