‘Spencer’ TIFF Review: The Unseen Tragedy of a Beloved Figure


Spencer is a film that tells you it is a true story, albeit a fable – maybe the most fitting way in which it can be set up by way of Pablo Larraín. Much like Jackie, Larraín doesn’t opt for a conventional approach to a biopic, this time choosing to give an idea of what was going through her head. Knowing the image that Princess Diana left behind in the wake of her death, it’s a risky way to have her story told, especially with how the British consciousness can be very protective of the Royal Family. Through this, we finally get to see Diana as a human, and that’s only one aspect to Spencer that allows it to really click with me, more so than most other Larraín films to this date have done.

Telling a story that takes place over a Christmas holiday, Spencer starts with the most fitting manner, we’re seeing Princess Diana being lost and needing to find her way back. This new iteration of Princess Diana’s story features Kristen Stewart in the title role, shows Diana in a cold marriage together with Prince Charles, who is played by Jack Farthing. It would be easy enough to imagine that this fictionalized account of Princess Diana happens some time within the final years of her life, facing constant pressure as a result of her stature imprisoning her. Through this perspective, it allows the audience to connect with Princess Diana like she was one of us and the results are wonderful.

Much of Spencer is built around fantasy as we’re seeing Diana’s life happening right in front of us. Everywhere she goes, she cannot escape the image that being a part of the Royal Family has created for her. We’re seeing her unhappy with the way her life is being controlled, but we also get a chance to see Princess Diana not as another part of the Royal Family – which already made me come on board with how Larraín chooses to tell a story about her. Every moment of Spencer is shot beautifully, through the beautiful camerawork of DP Claire Mathon, but what’s most captivating about Spencer is just how Larraín gives us the inside look at her frame of mind, akin to a horror movie.

But I think what really sells you into the approach comes from Kristen Stewart’s performance; to say that this is a career best is only underselling her efforts here. She’s committed to this role as Princess Diana in a way that I could only ever imagine Stewart could – but there’s a particularly haunting quality to the way she embodies Princess Diana. It’s haunting in the sense that you feel the impending doom coming her way, from simply wanting to be freed, yet we don’t know what from. This isn’t a film about the tragedy we know and associate Princess Diana with, yet it’s knowing this that still gives us a sense of what she wants to avoid. It’s hard enough for me to imagine anyone other than Stewart bringing any of this into such a role, if anything, it just solidifies my belief that Stewart is one among the best actresses working today.

I can’t say that a lot of this always worked for me though – while I admire the way this story unfolds, there’s still something that had always kept me from truly loving this. Much like Jackie, a lot of what doesn’t work for me in Spencer comes down to its screenplay. Written by Steven Knight, whose previous credits include Dirty Pretty Things (for which he received an Academy Award nomination), Eastern Promises, and Locke, what doesn’t work for me in Spencer comes from the way Knight seems to keep things a tad too on the nose. It never really does the movie any favours, especially when it comes to seeing Princess Diana as a person. Much as I enjoyed seeing Stewart playing the role, I found that it became difficult to really become invested in this side of Princess Diana, but Knight doesn’t write her in a way that showcases what’s going through her mind – as all that doom is external. With Larraín choosing to frame this moment in Diana’s life as a psychological drama, Knight’s screenplay never seems to stretch to show her as dynamic.

Nonetheless, I think there’s a whole lot to love all around – because Spencer is an exquisitely crafted film. It doesn’t feel like a movie that’s bound to the romanticize the Royal Family, especially in its portrait of unending doom from being part of such, but that great tragedy before knowing Princess Diana’s fate is what keeps its best moments incredibly effective. This is maybe the most that I’ve found that I was able to connect with a Pablo Larraín film, for like the best biopics should (and many fail to do), it brings you closer to Princess Diana not as a history lesson, but as a person. Together with a career-best role from Kristen Stewart and Jonny Greenwood’s score, Spencer isn’t a film you’ll want to miss.

Watch the trailer right here.

All images via NEON.

Directed by Pablo Larraín
Screenplay by Steven Knight
Produced by Juan de Dios Larraín, Jonas Dornbach, Paul Webster, Pablo Larraín, Janine Jackowski, Maren Ade
Starring Kristen Stewart, Timothy Spall, Jack Farthing, Sally Hawkins, Sean Harris
Release Date: November 5, 2021
Running Time: 111 minutes


2017: A Year in Review

Another year is complete, but not without having talked about the wonderful experiences we’ve had at the cinemas. Together with the not-so-wonderful films. But alas, this has been an extraordinary year for films for the highlights still managed to stick their landing inside of our minds – and the inevitable “what about such and such?” will come but I will remind you that it would have been outright impossible for me to have been able to catch virtually every movie that had come out the previous year to make sure I wouldn’t forget other highlights that may not have made it.
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Personal Shopper – Review


I’m still trying to piece together what exactly it was about Olivier Assayas’s Personal Shopper that didn’t work so well for me on my first viewing, because on another go I suddenly had found myself loving it to the point I don’t even remember what I thought was wrong about the film in the first place. And knowing already what Olivier Assayas had managed to bring out of Kristen Stewart from Clouds of Sils Maria, it was only fair to expect more greatness coming along from both one of the most fascinating directors working today as well as one of the most interesting actresses of her own generation. To say the least, there was a resonant effect present in Personal Shopper that only kept it lingering in my head since my first viewing, and on rewatch I quickly saw why it begun to stuck with me.

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Certain Women – Review


Kelly Reichardt’s anthology drama Certain Women is a quiet film, like many of her other films, but they were never boring even at their worst. Although Reichardt has yet to blow me away, I’ve always seen fragments of excellence arising all throughout her body of work (Wendy and Lucy stands out from the bunch that I’ve seen as the best), all of which were enough to keep me wanting more. Adding more to this streak is Certain Women, an anthology about the lives of ordinary people residing in Montana, immersed within quietness and within no time, forming a connection that almost brought me back to the work of Chantal Akerman. If Reichardt continues on with this streak, then I can only see her work growing better over time.

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