Spencer ★★★★★

This review may contain spoilers. I can handle the truth.

This review may contain spoilers.

I could write for hours about this film and the references from both foreground and background.

Starting with the Megxit drama: has Harry been somehow re-enacting part of his own life's drama - giving himself a second chance to perform now, as an adult, the role of a saviour that he could not perform as a child?
( we never know the part one's subconscious plays when making choices that are, in the end, not as random as it seems).

Regardless, the film dialogues a lot with the above. Charles' last phrase in the film (directed to the kids) is emblematic on this: "go there and try to save her"... and then the film performs its last tone inflection: from the dramatical Aronofsky/Birdman-like mood to an initial-scene-of-la-la-landeske singalong in the car (IN. THE. CAR. you know what this represents on Diana's story).

Another point is Kristen Stewart's astounding performance. Her performance was at times so-real/surreal (surreal = so real) , that I can affirm she was doing anything but acting. She was not acting out: She was living the drama. Clearly, Kristen was feeling what being part of the royal family was like. And being torn into pieces in the process. And with no need for method acting, given that the film was portraying the acting side of the royal family.
In this sense, Kristen was embodying Diana with the skills Diana was trying to resist. Ironically, the director succeeded where the royalty failed: making the character Diana to be a piece of acting. And a fabulous one - thank you, Kristen.

(One could also argue that Diana was lending Kristen the opportunity to reflect about the nature of the Drama Triangle formed by the triad Celebrity-Media-FilMindustry - but this is another story).

The music/score was a protagonist here - as much as Kristen/Di, carrying the film along several nuances through which the film navigated: Mother!, Birdman, the openings of Homeland (no wonder the similarities between Carrie's and Diana's drama) and House of Cards (the political drama on the background oppressing the protagonist), Joker, Black Swan, and so many other references that are thrown at the audience's face: "did you come to see a beautiful Princess? I will show you what they are made of".

And if you had not interconnected the Phoenix's Joker and Swan Lake ( or the genial split between Odile-Odette-Siegfried amazingly portrayed by Aronofsky's Black Swan), don't worry: you will have another chance, at least three times, during this film.

Lots more to write but, for now...

... The end.

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