Personal Shopper

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.


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  • ★★★★½ review by davidehrlich on Letterboxd

    “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 you’re grieving, the dead always seem relevant. And when you’re talking about Assayas’ “Personal Shopper,” where Stewart’s character moonlights as a modern-day medium desperately trying to establish contact with her late twin brother, the dead always are.


  • ★★★★ review by davidehrlich on Letterboxd


    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.

  • ★★★★½ review by Eli Hayes on Letterboxd

    Fear is but a form of fascination.

  • ★★★½ review by brat pitt on Letterboxd

    the ghost was #relatable because i too would focus all of my supernatural powers solely on texting kristen stewart

  • ★★★★½ review by Eli Hayes on Letterboxd

    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.

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