This is a measured, richly ambiguous work about the subjective process of grief — masquerading as a ghost story — that experiments with the minutiae of film language as only a master of the medium can do.
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As per Assayas’ custom, the film is chock-full of fascinating themes and ideas and his indisputable flair as a director makes it compulsively watchable.
Amid all the shifting mirrored surfaces and hazy ambiguities of Olivier Assayas's bewitching, brazenly unconventional ghost story, this much can be said with certainty: Kristen Stewart has become one hell of an actress.
Personal Shopper is a mess — not an uninteresting one, and better that than a staid, unadventurous bore, but a mess nonetheless.
As Personal Shopper progresses a rather predictable series of twists almost drain the story of interest.
Ultimately, all we have to hold on to in a story that lurches inexorably into CGI absurdity is our emotional connection with Stewart’s lost, lonely character.
It is actually Assayas’s best film for a long time, and Stewart’s best performance to date.
This reunion between Kristen Stewart and the director who gave her one of her best-ever roles in 2014’s “Clouds of Sils Maria” is a broken, but never boring mix of spine-tingling horror story, dreary workplace drama and elliptical identity search, likely to go down as one of the most divisive films of Stewart’s career.
The film depends on a performance from Stewart in which she’s virtually never off-screen or less than riveting.
This aggravatingly empty would-be suspense piece puts all its trust in its star to save the day, but even this compulsively watchable performer can’t elevate such a vapid, undeveloped screenplay.