Keira Knightley is a star whose presence I have often enjoyed onscreen more often than the films she’s in themselves. Perhaps it’s also come forth from my general lack of interest in period pieces, but Colette never stayed within the realms of what I would have expected it to be. On paper, it sounds like it could easily have been any other film that Keira Knightley would have attached her name to, especially given the setting and the subject matter having been based on a real person, but what Wash Westmoreland presents with Colette also carries a more seductive quality that I must also admit I didn’t expect to see right away. It’s seductive in the sense that Keira Knightley’s onscreen presence has always been, especially as she takes on new appearances under the elaborate costume design. Although if I were also to talk about the sort of turn that a film like Colette would have been from the films of hers that I’ve already familiarized myself with for so long, then it would also be worth noting that sort of person whose story she brings to life here.