![]() ![]() of the French New Wave delivers another wondrous late-period essay film, this time in collaboration with photographer J.R., a sunglasses-clad photographer whose style is such an obvious Jean-Luc Godard rip-off that Madame Varda calls him on it. Stewart’s inscrutable face is the engine that brings this enigmatic wonder to life. ![]() ![]() But the movie’s also an elegant embodiment of one woman’s attempt to move beyond her deepest sorrows, and it’s rich with ambiguous clues to her emotional state. In one of the best suspense sequences in modern memory, Assayas uses the ephemera of modern communication to show just how much personal devices can become the stuff of solipsistic nightmares: “Alive or dead?” Stewart’s character texts back to her unknown stalker, riding a train in silence, and the ellipsis leading up to the reply is the essence of 21st-century terror. 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. As Maureen, a young American living in Paris and coping with the recent death of her twin brother, the actress carries every scene through a series of peculiar circumstances that may or may not involve supernatural phenomena. In Olivier Assayas’ “Clouds of Sils Maria,” Kristen Stewart was a supporting character in their latest collaboration, she’s the center of the show. ![]() It’s a delicate reminder that even the simple pleasures of life stem from philosophical convictions. The result is at once hypnotic and charming, a movie with the capacity to elicit both the OMG-level effusiveness of internet memes and existential insights. “Kedi” isolates the profound relationship between man and cat by exploring it across several adorable cases in a city dense with examples. Cat lovers may be content with a mashup of feline faces bounding around the city, but hell, YouTube’s got that covered. ![]()
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