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Film after film: Personal Shopper (dir. Oliver Assayas, 2016)

I don't yet understand why, but this is so far both my favorite film by Assayas and my favorite Stewart role. After actressy Clouds of Sils Maria, which to me has some rhymes with my all-time favorite Opening Night (but then you have to agree on one interpretation of the film's ending that's not necessarily the most plausible), Assayas turned to a ghost story, one that's more ordinary than beautiful A Ghost Story, but also one that has this bullet of a performance by Stewart, who seems emotionally immersed and detached at the same time.

#kristen stewart #sigrid bouaziz #ty olwin #anders danielsen lie #nora von waldstatten #personal shopper #oliver assayas #filmafterfilm #mubi

Personal Shopper (2016, Olivier Assayas)

2/13/22

BLOGTOBER 10/30-10/31 (IT AIN’T OVER YET!): DISCONNECTED (1984) + PERSONAL SHOPPER

One night on a double date at a local night club, sweet, shy Alicia (Frances Raines) tries to tell the foursome about a strange experience she has had that day: She let an old man into her apartment to use her telephone, but he mysteriously vanished before she could let him back out. Her friends are not interested. Her boyfriend Mark (director Gorman Bechard), a smug radio DJ, dismisses her story as some sort of misunderstanding, and her vivacious twin Barbara Ann (Raines) cuts her off entirely by flirting openly with Mark, insinuating that she was with him that afternoon. This is the last straw in what appears to be an ongoing problem for Alicia. Outside in Mark's car, she refuses to accept his denial of sleeping with Barbara Ann, beginning an agonizing breakup process that drags out for days. Even at her job, Alicia can't seem to establish any personal boundaries; an awkward young stranger called Franklin (Mark Walker) visits during her shift at the video store, and reveals that he doesn't even own a tape player--he just found out who she was and where she worked from other club patrons the previous evening. Alicia rebuffs his unseemly advances at first, but with the insulting drama still festering between Mark and her manipulative sister, loneliness sets in. She could use some company to help insulate her anyway, since their town is plagued by a killer of young women...and stranger still, Alicia's telephone has taken on a mind of its own, broadcasting otherworldly sounds into her apartment, slowly driving her mad. She has a difficult decision to make about who or what she can trust, but it may be that there is no correct choice.

Gorman Bechard's atmospheric 1984 oddity DISCONNECTED follows in the footsteps of CARNIVAL OF LOST SOULS, joining a subset of subdued psychological thrillers about women alone. In Herk Harvey's 1962 classic, Candace Hilligoss plays Mary Henry, a withdrawn young woman who moves far from home after a traumatic accident. Where she hoped to find peace, she is stalked by a spectral male figure, and receives no help from the locals, who are all suspicious or covetous of her. The boundary between the living and the dead begins to dissolve, mirroring her increasingly ambivalent relationships with other human beings. Mary is torn between her longing for solitude and her fear of impending doom, having to choose between an intrusive suitor, and being left alone with her cadaverous stalker. Mary's unforgettable journey through her desolate surroundings, her isolation interrupted only by enemies both open and hidden, describes an experience that many female viewers have found familiar. Social life portends various threats--judgmental elders who pick at your morals and appearance, jealous females, emotionally and physically violent males--while solitude offers obliterating blankness, like a desert whose expansive monotony renders meaningless the defining lines of past, future, and self. In modern times, this distinctly female experience is complicated by the evolution of personal communication media. The telephone in particular--which has been historically and rather demeaningly associated with girls--is both a channel through which to reach out and touch someone, and an opening through which unwanted attention can insinuate itself into our lives. Two years ago, I saw DISCONNECTED--a loopy microbudget slasher movie from Waterbury, Connecticut--and one of my first thoughts was that it was somehow just like PERSONAL SHOPPER, Olivier Assayas' heady cyberpunk-flavored thriller from 2016, in which a servant to the stars receives threatening text messages from someone who may or may not be among the living. I've been trying to put the two together in writing ever since.

In PERSONAL SHOPPER, Kristen Stewart plays introverted American Maureen, the virtual slave of supermodel Kyra (Nora von Waldstatten). Maureen is a stranger in a strange land, travelling relentlessly around Europe to procure garments and jewels for her boss in Paris, and on her personal time, conducting a psychic survey of her late brother Lewis's mansion. Twin mediums Maureen and Lewis promised one another that whoever died first would send the other a sign from across the divide; Maureen has been waiting since his untimely heart attack for him to hold up his end of the bargain. So far she has only witnessed some scattered poltergeitic activity, along with the manifestation of a ferocious, unknown female specter, but the clock is ticking, as the manse is mid-sale to Lewis’ friends. Furthermore, it is her employment with the tyrannical Kyra that allows her to stay in Paris and wait for a sign from Lewis, so Maureen’s freedom also is dependent on the resolution of this situation. When she meets Kyra's arrogant lover Ingo (Lars Eidinger), he inappropriately insists that he can get her a better job elsewhere, but she explains that she can't change her life until she has closure with her brother. Shortly after this unpleasant encounter, Maureen begins to receive intrusive texts from an unknown caller. Due to her unusual relationship to the dead, she can't be sure if her new stalker is a part of her world, or not.

PERSONAL SHOPPER has very much the flavor of William Gibson’s speculative fiction novel Pattern Recognition, in "cool hunter” Cayce Pollard has the extra-sensory ability to detect what new designs will become popular next. Cayce’s special power manifests as a crippling allergy, and so she tries to remain in timeless, fashion-neutral clothes and settings whenever possible. Psychic Maureen feels a similar kind of existential ambivalence toward the super luxe materials she excels at curating for her client.

Maureen spends much of her screen time alone. Most of her personal contacts are with salespeople; she virtually never sees Kyra in person, and her boyfriend Gary (Ty Olwin) lives in Oman, which may as well be another world. Her chief relationship is to her dead brother, who is literally in another world, and who responds with frustrating ambiguity to her pleas for a clear message, even as his mansion rumbles with unexplainable activity. This void of connection seems somehow related to Maureen's tenuous sense of personal identity. With no close connections, she cannot accurately detect her own contours. Maureen is totally sublimated into Kyra's life, simply an extremity that grasps for whatever Kyra needs. At the same time, she is subject to Lewis's will, unable to make any moves--even to protect herself--until her late brother deigns to give her peace. Maureen's identity is entirely determined by other people, including the mystery caller who lures her into a confessional conversation with him. Although this third figure is the most predatory of them all, he is also the one who teases out the threads of Maureen's fraying individuality. When she admits to trying on Kyra's clothing, just because she's not allowed to, he entices her to stay in Kyra's bed while she's away, further feeling out her own limits. This is the only way Maureen can establish a self that is independent of the context of others: by violating the taboos established by those others. The rule-breaking method of finding oneself is an integral part of the human condition, as explained by media theorist Marshall McLuhan in a discussion of the self in the age of social media:

"Yes, all forms of violence are quests for identity. When you live out on the frontier, you have no identity. You are a nobody. Therefore, you get very tough. You have to prove that you are somebody. So you become very violent. Identity is always accompanied by violence. This seems paradoxical to you? Ordinary people find the need for violence as they lose their identities. It is only the threat to people’s identity that makes them violent. Terrorists, hijackers - these are people minus identity. They are determined to make it somehow, to get coverage, to get noticed."

By breaking Kyra's rules just on principle, Maureen moves toward self-actualization. Unfortunately, this comes at a cost, as the mystery caller who encourages this process wants to possess her just as much as Kyra and Lewis already do.

Maureen's phone has become a ouija board-like portal to another plane, through which alien forces can cross over and affect our fate. In DISCONNECTED, Alicia suffers from a similar problem. Alicia's social isolation, and the increasingly meaningless division between life and death for her, is underlined by the fact that she lives on the edge of a cemetery. Her phone is her connection to the world--to the ambiguous Franklin, to her sister who she can neither accept nor reject, to Mark who she can't quite leave behind. She can't get rid of this device, even when it starts to ring almost constantly, with a horrifying, vaguely vocal-sounding barrage of electronic noise on the other end. As in PERSONAL SHOPPER, Alicia is largely seen alone, pacing in her apartment, wandering teary-eyed in the depopulated streets of Waterbury, and eyeing her phone with nervous anticipation. She finds herself living out an appalling version of the classic Twilight Zone episode "Night Call," in which Elva, an old widow longing for her late husband, is harassed by increasingly disturbing phone calls from beyond the grave. Like Elva and Maureen, Alicia also suffers from the conflation of companionship and otherworldly threat: Just as she doesn't understand the source of the distorted calls, she also doesn't know that Franklin--her potential savior from this dark chapter of her life--is a serial murderer, planning to have her for his next victim. When Barbara Ann makes a move on him, perpetuating the cycle of sororal abuse that started with Mark, Franklin kills her instead, removing one of Alicia’s few contacts with the rest of humanity.

BTW, even though Alicia eventually takes a liking to Franklin (center), her experience at the video store--here, trapped between an aggressive suitor and a similarly aggressive porn consumer--forms the most realistic portrait of retail hell for girls that I have ever seen in my life. When Franklin first arrives, announcing that a) the movies there aren’t good enough for his refined tastes, b) he doesn’t even own a video player, and c) he’s only there because he’s stalked Alicia from her local watering hole, his intensely condescending attitude and presupposing come-ons gave me a hardcore PTSD reaction from the many years I spent behind the counter of a comic book store. Yuck.

While Alicia doesn't understand what is happening until it's almost too late, Maureen's situation escalates horrifically when her latest jewelry delivery brings her face to face with Kyra's mutilated corpse. As she reels from this gruesome sight, she also detects a malevolent presence vibrating deeper in the apartment that sends her fleeing in terror. When she goes to the police, her mystery caller suddenly becomes more sinister, demanding to know whether she has told the cops about him. In short order, the caller tries to blackmail her into meeting him in a hotel room, but this climactic union is circumvented by the police: It was Ingo guiding Maureen's journey of self-discovery, and Ingo who killed Kyra. The revelation is enormously painful, not because Ingo is so important, but because he managed to victimize Maureen using her most uniquely personal characteristic: her relationship to the supernatural. She believed that something personally significant was happening to her, according to her special understanding of the world, but she was merely being preyed upon by a violent narcissist. Her profound belief in her own paranormal sensitivity--the one thing she is sure of, that distinguishes her from others--is what made her vulnerable to the insistent texts begin with: She wondered if it was Lewis texting her. Ingo exploits Maureen's convictions about herself to perpetrate a deadly fraud, leaving her violated and humiliated. Even though we witness the presence of an unseen entity (Lewis? Kyra?) moving through the hotel, perhaps influencing Ingo's capture, Maureen is left to suffer for being gullible and vulnerable, to mourn her own privacy.

Of course, Maureen's journey is not over yet, and Alicia receives a similar shock with a full half an hour to go in DISCONNECTED. She is rescued by her own screams on her last date with Franklin, as the sounds of their skirmish draw the police to his apartment where they summarily execute Alicia's would-be killer. Now she is left with almost no worldly connections at all--save for the malign presence that keeps calling her phone, blasting her with waves of mind-melting noise. To make matters worse, there seems to be a new victim in the rash of murders previously tied to the late Franklin. Alicia plunges into a spiral of nihilistic despair, in which her closest relationship is with her conniving ex--mediated by the phone, and by his radio show where he dedicates songs to her--second only to the mystery caller who dials her number several times an hour. Craving a human connection, Alicia eventually relents and lets Mark take her out again, and things seem to be on the upswing...until Alicia returns home to find that something worse than electronic fuzz has entered her home, to put an end to her misery. We don't share her final vision, but we do see the mysterious old man (William Roberts) from the beginning of the movie, the fellow she let in to use her telephone, strolling into the cemetery--presumably, from whence he came.

Like Alicia in the aftermath of Franklin’s death, Maureen also has to find a new way to survive after an episode of shocking violence. For Maureen, the only way through is out. As she prepares to leave Lewis' mansion, she encounters his widow's new beau, Erwin (Anders Danielsen Lie). This encounter crystalizes the movie's themes regarding time. Early in PERSONAL SHOPPER, Maureen is turned on to the visionary paintings of Hilma af Klint, a 19th century painter who claimed that she made her art at the behest of ghosts. She mandated that her work only be revealed to the public after her death, creating a communication channel between the deep past and the distant future. Maureen argues with her doctor about the future; he insists that her brother's heart attack was purely anomalous, but Maureen sees no reason why the same thing couldn't happen to her. She sees no future for herself, and is chained to the past by the ghost of her brother, who withholds the spiritual message that would allow her to move on. Lewis thought a lot about the future, Maureen remarks cynically to her doctor, despite the fact that he was ultimately deprived of one. Later, Lewis' widow Lara (Sigrid Bouaziz) explains that she feels the future is in flux and unknowable--a desirable quality, in her book--and so she is moving on to be with Erwin. So, when Maureen encounters Erwin on her final night in Paris, they have a pointed conversation about the shackles of the past and the fossilizing force of guilt on one's life. Lewis's ghost cruelly teases Maureen at the end of the scene, demanding attention but refusing to reveal himself. With nothing to show for her devotion to her brother, she flees Europe.

In both DISCONNECTED and PERSONAL SHOPPER, the archetype of the twins is used to describe opposing states of being, and the threat of having one’s life usurped by another version of oneself. Alicia's sister Barbara Ann is lively, sensuous, and self-serving: everything that Alicia is unable to be, and the consumer of everything Alicia wants for herself. With her unrealistic desires for honesty and compassion, Alicia is the more death-oriented twin: cut off from social life, deprived of pleasure by more ambitious people, and vulnerable to parasitic attacks from both sides of the mortal veil. Alicia even dreams of Barbara Ann murdering her, and literally taking her place in bed with Mark. Maureen's twin Lewis is described by his survivors as passionate and living on the strength of his own convictions; Although Maureen still lives, she is inert, somehow chained to him, slavishly waiting for him to grant her release, though he is content to torment and manipulate her. The protagonists of both films are subjugated to these duplicates who refuse to stay on their side.

Maureen flees to Oman to reunite with her boyfriend Gary--heretofore only a pixelated image in a video chat who begs her to give up her commitment to the kingdom of death, insisting that only the material world exists and is waiting to embrace her. Of course, when Maureen arrives in Gary's placid and spartan world at what may as well be the end of the universe, her problems have followed her. We will never see Gary in the flesh; he has left a written note of welcome for Maureen, which she reads just as she detects a supernatural presence in his dwelling. Hoping against hope that Lewis is finally reaching out to her, she asks out loud: “Is it you? Are you at peace? Are you not at peace? ...Or is it just me?” And, hauntingly, she hears a ghostly knock in the affirmative for every question.

The ambiguity of this ending has troubled some viewers, although multiple interpretations present themselves which are not mutually exclusive. In the most literal sense, Maureen can be seen as a terminally frustrated Carrie White-like figure who causes material disturbances with the power of her own inner turmoil. The paranormal phenomena she perceives are, indeed, “just her”. On a more metaphorical level, we can see that Maureen is haunted by her own grief, over her brother, and also over her failure to forge a life of her own. In her mind, her brother was a superior life force to which she remains subservient; she identified herself entirely as a receiver for his message, and without his active participation in her life, she loses all sense of purpose. She scrutinizes ghostly disturbances and the spiritual conduit of the telephone to inform her place in the world. Without an internal, independent reason for being, people like herself, and like Alicia, are forever haunted.

Quand on découvre “Knives and skin”, on ne peut s’empêcher de penser que Jennifer Reeder a vu Twin Peaks tant la disparition de Carolyn Harper fait écho à la devenue mythique disparition de Laura Palmer. Elle ajoute à cela un fond féministe dans-l’air-du-temps et des fantaisies esthétiques mi clippesques mi girly. Le film intrigue parfois, peut-être parce que son début lynchien nous allèche et que son côté féministe nous retient et puis les looks des jeunes filles sont assez formidables et/ou improbables et quelques scènes font leur petit effet. Malgré tout, l’ensemble ne tient pas tout-à-fait la route. C’est trop clinquant, trop maniéré, trop appliqué, trop démonstratif, trop froid. Comme une “publicité” contre le viol un peu trop longue et non une oeuvre filmique à part entière. On retiendra quelques scènes de chant, de reprises désenchantées enchanteresses, mini clips oasiens au milieu de ce mirage qui nous laissait présager mieux mais nous laisse un peu sur notre faim.