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Posts Tagged ‘Lars Eidinger’

Been to the cinema much recently? No, me neither: if you’d told me at any point in the last decade or so that there would be a four-and-a-half-month gap between visits to the pictures, I would have concluded that this indicated my leaving the country, going to prison, or having some kind of medical emergency. Nice one me, I suppose, as a medical emergency has indeed been to blame. However, for whatever reason, attempts to drag the country back to something resembling how things used to be have been in progress and this weekend saw the re-opening of the first cinema in Oxford.

Naturally I was there, but I wonder, I wonder. I am as critical as anyone of the efforts of those in power and their media cheerleaders to persuade everyone to resume their old lifestyles, mainly for the benefit of the bottom line and the continuation of the old economic model. People have, perhaps, begun to question what they took for granted, or were told, and even glimpsed another way of living more to their liking. Certainly the virus has shredded our former way of life, and it is foolish to pretend this can quickly or easily be repaired.

Then again, am I not just as worthy of scorn for clinging to the hope that the old model of cinema can be preserved? As you may have surmised, I used to go to the cinema two or three times a week, on average, occasionally far more often than that. Often this wasn’t because I had a burning desire to see a particular film, but I enjoyed following the schedules, finding new and unusual things to write about – even the simple routine of going to the cinema (buying my ticket, taking my seat, waiting for the lights to go down, watching the adverts for the umpteenth time) was something I genuinely took pleasure in. You don’t get any of those things just streaming something.

I hope it’s too early to make predictions, because the signs were not especially positive – although the whole experience was a little surreal, to be honest. It turned out I had forgotten which of my cinema cards was which, for one thing: that would have been unthinkable back in March. (Though looking on the bright side, my membership has been extended until the middle of next year.) There were all the masks and bits of hand sanitising equipment you would have expected, all for the benefit of… well, just me, if we’re honest about this. I had the whole screen to myself. Now, I should say that this was not that unusual even back in the old days, given some of the obscure films I went to see at funny times, and the afternoon showing of a subtitled art-house drama on a sunny August day would likely never pull a big crowd. But even so.

Notably few commercials, and – other than one for vodka – most of these were for either charities or public health agencies. Not many trailers, either – well, one, to be precise, for Tenet (which feels like it is rapidly becoming the last great hope of mainstream cinema for this year). According to the trailer Tenet is (or was) released in July 2020 – but, given the time-mangling nature of the story implied by the trailer, this actually feels oddly appropriate, and it’s far from the only film which had its publicity campaign overtaken by events: all over the city centre one could see buses still decked out in advertising material for movies which were supposed to open in March, and never did: ghosts of a vanished future.

Anyway, I went to the cinema to go to the cinema rather than see any particular film. The one I ended up going to see was Alice Winocour’s Proxima, which had a hopeful, slightly science-fictiony-sounding title – although had I known going in that Winocour also co-wrote the accomplished but slightly heavy Mustang I might have managed my expectations a bit. There you go: always do your research, friends.

Proxima does indeed turn out to be slightly science-fictiony, by which I mean it is a film about space exploration rather than an actual piece of science fiction. Or is it really about something else? Eva Green plays Sarah Loreau, a woman whose lifelong ambition has been to become an astronaut: her daughter (Zelie Boulant-Lemesle) is named Stella and her cat is named Laika, after the Soviet space dog. At the start of the film it looks like her dream has come true, as she is selected for Proxima, a long-duration space mission and a crucial part of the programme which will culminate in putting a person on Mars.

Rather tellingly, the first thing Sarah worries about once she gets this news is sorting out her childcare for while she’s away: Stella will have to go and live with Sarah’s former partner Thomas, an astrophysicist (Lars Eidinger). Then it’s on with the training, and having to sort out some sort of modus vivendi with the American mission commander, Shannon (Matt Dillon), who seems openly dubious about her abilities. As the training regime grows increasingly gruelling, Sarah becomes aware of the strain all of this is placing on her relationship with her daughter and the concerns of her psychiatrist (Sandra Huller).

I know what you’re thinking: Gravity knock-off. Well, I can see where you’re coming from, but no it isn’t, not least because none of the film actually takes place in space – it’s all resolutely earthbound, about the training process rather than the actual mission. A big chunk of it looks like it was shot at Star City in Russia (officially the Yuri Gagarin Cosmonaut Training Centre), with some scenes being filmed around the Baikonur space centre. I’m not as much of a space enthusiast as some people whom I know, but even so, the nuts and bolts of the training regime are fascinating and occasionally unexpected, assuming the film isn’t just making things up: trainee astronauts watching upside-down TVs to prepare for work in zero gravity, for instance. I think this naturalistic element of the film will be quite engaging enough to satisfy many viewers.

On the other hand, though, by the end it is quite clear that the movie isn’t really about a woman preparing to go into space: it’s about a mother on that journey. Every element of the story is viewed through the lens of the relationship between Sarah and Stella and Sarah’s attempts to preserve the bond between them. We are invited – maybe even commanded – to sympathise with Sarah and accept that the maternal connection is one which the male-dominated space exploration establishment do not appreciate. At one point Sarah commits a massive breach of mission protocols in order to keep a promise to her daughter, and it is presented as a transcendent moment of togetherness rather than someone being dangerously irresponsible. It doesn’t quite sit well with a film which is implicitly critical of the chauvinist American alpha-jock played by Dillon (when asked how he feels about a French woman joining the crew, his response is that he’s happy, because they’ll have someone around to do all the cooking). Dillon’s character suggests that Sarah’s preoccupation with her daughter makes her a bit of a liability, but the really odd thing is that the film implies he is correct, while simultaneously presenting her as a sympathetic, admirable figure. (Then again I am neither a woman nor a parent, just someone who occasionally enjoys space films: I fully expect other people to have very different takeaways where Proxima is concerned.)

Well, apart from that it is competently written and directed, with a very good performance from Eva Green and solid support from everyone else (Boulant-Lemesle gives an extremely self-assured turn for one so young). As I said, the nitty-gritty of the story is fascinating, I just couldn’t buy into the film’s idealisation of motherhood, or the suggestion that mums who go into space are making some kind of unique sacrifice – plenty of fathers go into space, after all. Is Winocour suggesting they are all distant, cool parents without much of a connection with their kids? Oh well. Not the best film of the year, nor the worst, and so probably the kind of thing we should be hoping for going forward, if we really want to see the restoration of something resembling the old days. That still feels like it’s a long way off, though.

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Film studios are usually so prepared to jump on the bandwagon of any successful movie and devote themselves to making more of the same, that it almost seems churlish to be less than fully enthusiastic when someone unveils a project which is quite startling in its originality. Nevertheless, this is the position I find myself in with respect to Olivier Assayas’ Personal Shopper. If you are a fan of movies in which low-ranking fashionistas moonlight as ghostbusters and find themselves mixed up in the stuff of a psychological thriller, well, rejoice, for this movie is right up your street. If you are part of that inexplicable minority for whom this is not instinctively interesting, well, you might want to read on anyway, for this is still a fairly interesting project.

Kristen Stewart wafts around Paris, London, and Muscat as Maureen, personal shopper and general dogsbody for a prominent figure in the fashion industry (who’s a fairly unpleasant individual, it would appear). Several people wonder why she stays in such a difficult and unrewarding position; well, she has something else on her mind – her brother died three months earlier and the two of them made a deal. Whichever one passed on first would send a message of some kind to the other, confirming the existence of the afterlife. For Maureen, you see, has mediumistic powers, in addition to a good knowledge of couture, and spends much of her spare time hanging around gloomy old mansions harassing dead people. So when she starts to receive enigmatic text messages from someone seeming to know all about her and her life, one of the first questions that occurs to her is that of which side of the grave her stalker is on…

There is a certain class of actor who rose from near-obscurity to global celebrity extremely rapidly and at a relatively young age, and while this may have done their profile and bank balance no harm whatsoever, it creates a lens through which all their subsequent work is inevitably viewed. I’m thinking of people like Elijah Wood, Daniel Radcliffe, and Emma Watson, and – of course – Kristen Stewart belongs to this select group as well. (Jennifer Lawrence, on the other hand, seems to have slipped the net, while the career of Leonardo DiCaprio indicates there is hope for any of these people.) No matter what Stewart does, on some level she is still going to be The Twilight Girl for many people, with all the baggage that comes with this. On the other hand, I expect having a net worth of $70m makes up for a lot, and Stewart could be forgiven for either just sitting on a yacht somewhere or simply doing very commercial work. I would say that for her to lend her profile to an odd little slightly art-house film like this one is commendable, especially considering the vanity-free performance it demands of her.

Personal Shopper played at the Cannes festival, where it won the prize for best direction and was also booed by the audience, which may give you a sense of the film’s potential to divide and confuse. On paper the film sounds like some sort of odd genre mash-up, with elements of a psychological thriller and a possible ghost story intermingling, but to be honest it doesn’t so much combine genres as slosh around between them haphazardly. Most of the time it comes across as a naturalistic, ostentatiously understated character piece with Stewart buzzing around Paris on her moped, carrying out lengthy text message conversations, looking at shoes, and so on, and you think that the metaphysical elements – her fretting about the existence of the next world, the mysterious absence of word from her brother – are just part of this. She has the same congenital heart defect which killed him (and could potentially do the same to her), and you almost expect the business about spirits to be not much more than a metaphor, an expression of her existential uncertainty about life.

But then there’s a genuinely creepy sequence of Stewart wandering around a big old house in the dark, and vague shapes swirl around the edges of the frame, and abruptly she is contending with a hostile CGI spectre, and the effect is quite discombobulating – especially when the sequences like this don’t particularly seem to lead anywhere or add to the story. The thriller-storyline is somewhat less arbitrary – someone gets murdered, Stewart’s character is too close to being implicated for comfort, and what does her mysterious text friend know about it all? – but arguably gets going too late in the film and ultimately remains quite baffling and unexplained in several key details. (It may be there’s a brilliant subtext or hidden story in this film which completely passed me by; one sequence near the end is certainly very suggestive.)

Despite all this, Personal Shopper remains oddly mesmerising to watch – I glanced at my watch at one point, wondering when the plot proper would get going, only to find we were already 80 minutes into the film without my noticing it. This is partly because it’s simply quite a well-made film, and the various elements of the plot, for all that many of them are not entirely resolved, are nevertheless quite intriguing while they’re being developed. I would also say that credit should go to Kristen Stewart, who does have that indefinable quality we call Star. Her performance here, while a little mannered, is also technically meticulous, the work of someone who cares about their craft at the very least. And she pretty much has to carry the entire film – no-one else really makes much of an impression, with the possible exception of Lars Eidinger – it might be worth a small flutter on Eidinger as a potential future Bond villain, as he certainly seems to have the looks and the moves for the role.

For all that Personal Shopper sounds like a plot-driven genre movie, so much of it is oblique and ultimately unresolved that it really functions more as a mood or character piece than anything else. There are so many strangenesses and weird quirks and choices to the movie that I can fully understand why some people might find it deeply annoying, but on the other hand, the central performance is quite impressive and it is extremely watchable, in a funny sort of way. Is it actually a good movie or not? For once I can’t actually decide, but The Twilight Girl is certainly good in it.

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