Synopsis
A personal shopper in Paris refuses to leave the city until she makes contact with her twin brother who previously died there. Her life becomes more complicated when a mysterious person contacts her via text message.
2016 Directed by Olivier Assayas
A personal shopper in Paris refuses to leave the city until she makes contact with her twin brother who previously died there. Her life becomes more complicated when a mysterious person contacts her via text message.
Kristen Stewart Lars Eidinger Sigrid Bouaziz Anders Danielsen Lie Ty Olwin Hammou Graïa Nora Waldstätten Benjamin Biolay Audrey Bonnet Pascal Rambert Aurélia Petit Olivia Ross Thibault Lacroix Calypso Valois Benoit Peverelli Dan Belhassen Leo Haidar Mickaël Laplack Vianney Duault Célia Ouallouche Khaled Rawahi Julie Rouart Monika Bastova Jakup Stritezsky Charlotte Caussarieu Charles Gillibert Christina Konstantinidis David Bowles Natasa Novotna Show All…
Sirena Film SCOPE Pictures Poisson Rouge Pictures Detailfilm CG Cinéma Vortex Sutra Canal+ ARTE France Cinéma
采购专员, 私人采购, Personīgā stiliste, 鬼魅時尚, 퍼스널 쇼퍼, Личен купувач, Η Βοηθός, Fantasmas del pasado, Personal shopper, קניינית אישית, A stylist, パーソナル・ショッパー, Asmeninė pirkėja, Stylistka, Персональный покупатель, Osebna stilistka, Лични купац, สื่อจิตสัมผัส, Hayalet Hikayesi, Персональний покупець, Trợ Lí Thời Trang, 私人采购员, 私人採購
Horror, the undead and monster classics Thrillers and murder mysteries Intense violence and sexual transgression Terrifying, haunted, and supernatural horror Gothic and eerie haunting horror Creepy, chilling, and terrifying horror Intriguing and suspenseful murder mysteries Twisted dark psychological thriller Show All…
My favorite genre is Kristen Stewart saying "fuck you, yes I can act. Bitch."
The wildest thing that happens here is how K-Stew puts a space between the final word of a sentence and the question mark.
“Cinema is about resurrection. Cinema is about dealing with your own ghosts and bringing them to life. Cinema can explore your subconscious and your memories, but mostly it allows what is lost to come back.” — Olivier Assayas
I promised myself that I wouldn’t tell Kristen Stewart about my dad.
I repeated that instruction like a prayer as I prepared for our interview. I didn’t want to make this about me. One of the first hurdles you must clear as a film journalist is accepting you are always the least-interesting person in the room. As I sat across from Stewart and writer-director Olivier Assayas in an empty Lincoln Center atrium on a rainy October afternoon, it wasn’t even close.
When…
i think kristen stewart is at peak hotness when she looks like she hasnt slept in days
SEXT.
i loved this movie. more than just a slinky and seductive ghost story for the iPhone age, it's also an exceptionally smart portrait of how living technology shapes how we remember (and live with) the dead. it's slinky, seductive, and feels graced with a genuine sense of loss. and there's a long-take close-up at the end that singlehandedly proves that Kristen Stewart is worth her cult. i can't wait to see this again.
Finally a film that understands just how terrifying the texting process can be (the waiting, the read receipts!!), long live airplane mode.
can't decide what i found scarier ...
a) the spooky ghosties
b) the iphone with no case
c) kristen stewart's character having a boyfriend
kristen stewart: *is sad, ignores calls, looks at hilma af klint paintings, sleeps, masturbates*
me: she just gets me, y'know
all about the process of grief and the way thoughts manifest in frightening and uncontrollable ways in the face of tragedy, as well as how Stewart's character learns to cope with her brother’s passing as she descends further and further into a faux reality that’s displayed as a legitimate reality on screen. the whole film is exhibited as a double -- almost presenting, simultaneously, multiple and in a sense subjectively parallel existences (think Kiarostami's Certified Copy). Assayas' peculiar presentation method of a potentially "alternate" narrative makes all of the fantastical elements seem like part of the actuality of the protagonist's situation, rendering her story and character arc immensely ambiguous, and also making it impossible for viewers to know, with certainty, whether what they're seeing is part of the film’s true universe or just the internal mechanics of the way in which the protagonist's mind deals with the loss of her brother and the fear of her own demise.