The first two days provided films that were focused on the nature of the imperfect father. Day three brought things full circle with a spotlight on motherhood. From a matriarch whose whole world revolved around her children to a woman who unabashedly states that she was not meant to be a parent, the theme was apparent in the films we sought out.
We started the day off with Pablo Larraín’s dreamlike new film, Spencer, starring Kristen Stewart as the tormented Diana, Princess of Wales. The film takes place during the Christmas holidays at the Royal Family’s Sandringham estate, and while time, place, and people are based on reality, the film itself works in a way that is being described as “an upside-down fairytale.” A ghost story of sorts.
That is a very important thing to know heading into the film. This is NOT a biopic. This is a film that intentionally takes liberties with its historic events. Larraín’s film states upfront: “A fable from a true tragedy.” This unique approach leaves a lot to absorb and digest. It’s not the type of film you should view and tweet an instant reaction on, in my opinion, and proof of that is how much I’ve gone from liking Spencer to loving it in the last 24 hours.
Kristen Stewart delivers a masterful, virtuoso performance as the doomed princess reaching the peak of her mental and emotional crisis, with vivid panic and delusions. The mark of a great performance can often be seen through the actor’s eyes. How they express curiosity. How they show anguish and ambition. How genuine they can make you feel the emotions their character is enduring as you slip away beneath the veil of the story they are conveying. This is what Stewart has achieved with her epic portrayal. Stewart’s performance is the stuff that Oscar dreams are made of.
Spencer is a heavy film. Gray clouds and misty fogs linger over the frosted courtyards and frigid countryside, lending a haunting ambiance that foreshadows the Princess’ fate. The mood is expertly captured by cinematographer Claire Mathon and composer Jonny Greenwood’s score is as eerie and persistent as Diana’s capricious mind. Spencer is a fever dream of a film, yielding a somber vision of the turmoil that Diana went through as a mother and a woman trapped under the strain of her obligations to the Royal Family. It will sit with you for days after seeing it.
We followed Stewart’s outstanding performance with another fantastic turn by Olivia Colman in Maggie Gyllenhaal’s directorial debut, The Lost Daughter. Colman is marvelous playing a woman who is reflecting on the troubles of her past and coming to terms with the fact that she was not meant for motherhood. Jessie Buckley is also terrific playing the younger version of Colman’s character. The film is a noble first effort from the talented actress-turned-director.
We wrapped up this day of bleak storylines with what might be the darkest film of the fest, Jane Campion’s breathtaking return to cinema, The Power of the Dog. Campion was in attendance to receive her tribute, which was bestowed upon her by Benedict Cumberbatch, the lead of her new
film. Campion spoke about her film, calling it “an exploration of masculinity,” and felt that it was a bookend to her 1993 Oscar-winning film, The Piano. Shot during the pandemic in New Zealand, Campion reveled in the experience, calling it “the most extraordinary thing she’s done in her lifetime.”
The Power of the Dog is set in the cattle ranching territories of Montana in 1925. Cumberbatch stars opposite Jesse Plemons as two diametrically opposed brothers, Phil and George. When George takes a wife, Rose (Kirsten Dunst), Phil’s ominous and menacing presence works to drive her and her odd son, Peter (Kodi Smit-McPhee), to madness.
The Power of the Dog is meticulously crafted and wonderfully executed. Exquisitely shot by Ari Wegner, Campion’s film is both resplendent and morose. The Power of the Dog is a towering achievement, and the finest work of both Campion and Cumberbatch’s careers. Jonny Greenwood’s skin-prickling score is once again aces, capturing the beauty of the sweeping landscapes and the looming danger Phil’s shadow casts on the newly formed family. The soundtrack is one that I will be playing on repeat the second I can get my hands on it.
Simply put, The Power of the Dog is one of the year’s best films, adding to the outstanding lineup we have witnessed in the first few days here at the 48th Telluride Film Festival.
