The story of a family bond that will not die.
Director Olivier Assayas’s 2015 film Clouds of Sils Maria was perhaps one of my favorites of the year. The film told the story of an acclaimed actress who revisits the play which made her famous while she experiences one of the most vulnerable times of her life. The actress begins to noticeably lose her grip on reality as the play’s events mirror her own life while she rehearses the part in the home of the playwright who recently passed away. The way the character’s demons consume her to no end is made all the more fascinating when set against the magical, sort of dreamlike landscape of St. Moritz, adding to the character’s great tension. It was one of the most beautiful and stirring examples of cinematic madness ever made and made me anticipate what kind of telling yarn Assayas could possibly create next and the ethereal land it would be set in. With his follow-up Personal Shopper, the director not only revisits many of the elements which made Clouds of Sils Maria such a human marvel, but he manages to push them even further with truly breathtaking results.
Still reeling from the death of her twin brother the year before, American Maureen (Kristen Stewart) lives an isolated existence in Paris working as a personal shopper for a high-profile philanthropist (Nora van Waldstatten). When not busy with her job, Maureen spends her spare time using her gifts as a medium to make contact with her dead brother Lewis, with whom she made a pact with earlier in their lives. Whoever died first was to give the other a sign signifying their continued spiritual presence. Just as Maureen starts to give up hope on Lewis’s existence, she receives a mysterious sign which leads her to believe that she is being watched.
For many watching Personal Shopper, the one element which sticks out instantly is the world Assayas has created and the tone it gives off as a result. The quiet, moody feel of Personal Shopper is wonderfully juxtaposed by the rich texture found in its setting and delicate cinematography. At the physical center of the film are the elaborate and sometimes off-putting garments Maureen is surrounded by as part of her day-to-day existence. It’s fashion porn, yes. It’s also powerful and silightly off-putting enough to help create a totally alien world. At one instance when picking out the accessories her boss is to wear at an evening event, Maureen is shown surrounded by endless amounts of necklaces, bracelets, and earrings hanging around her like a glittery maze. The same awe extends to the city of Paris. Just as he did in Clouds of Sils Maria, Assayas is able to transform Europe into a dark and entrancing wonderland. Because of its intriguing settings, it becomes easy to miss the fact that Personal Shopper is a largely plotless film. None of this matters though, since the atmosphere and the world crafted here is so strong and intoxicating. The whole exercise can be considered slightly fragmented for sure, but when the fragments are all so interesting in their own right, it hardly makes much difference.
Although she spends so much of the film longing to hear from the ghost of her deceased brother, it’s hard to escape the notion that Maureen almost exists as a ghost herself. This is at least true in her limited interactions with society and especially where her employer is concerned, leaving items and collecting pay in her absence. Going deeper, Maureen cannot help but function as a hollow shell of a young woman as a result of losing her brother to a medical cause to which she herself is likewise prone. Not only is Maureen’s name rarely spoken or shown, but even the film’s titles strips her of life and identity, reducing her role in the world to that of a mere function. A scene showing Maureen trying on the dress at the insistence of a designer is extremely telling. Although hesitant at first, she eventually takes to wearing the garment as it allows her to disappear altogether as much as possible, bringing out her longing to be a part of the spirit world. Indeed, the way clothes are used throughout Personal Shopper are symbolic of a ghost like existence with pretty frocks being used by living spirits to hide behind in lieu of white sheets. It’s no wonder then that despite a strong dislike for what she does, Maureen can’t help but be a part of that world.
Maureen is one of the most complex roles Stewart has ever attempted. The fact that she succeeds in it is not surprising; what IS surprising is how much of herself she gives to Maureen emotionally. A sequence on a train ride to London is especially moving as the character struggles to remain composed as she finds herself being overwhelmed with a well of emotions. Watching as Stewart remains contained, yet unmistakably fragile, shows just how in tune the actress is with the internal torment of her character.
There are equal parts fascination and admiration regarding the look and beauty of the film and how it works as a wonderful dichotomy with the darkness of the story, particularly where its human conflict is concerned. Don’t misunderstand, Personal Shopper is indeed a ghost story. There’s no mistaking that fact. However when a supernatural occurrence does show up in the film, it’s fleeting, but effective. Because of this, Personal Shopper can best be described as a haunting of the soul more than anything else. The feeling of unease and emotional struggle which plague those touched by death in ways that go well beyond the profound. It is for this very reason that while Personal Shopper may not easiest film to love, it IS one of the hardest to shake.
The Package
Among the special features on Criterion’s release are a press conference from the Cannes Film Festival featuring Stewart and a brand new interview from Assayas.
The Lowdown
Personal Shopper is an elegant and elevated ghost story that focuses on the intimate rather than the overt.
Personal Shopper is now available on Blu-ray and DVD from The Criterion Collection.
