Spencer, Pablo Laurent’s extraordinary film about Princess Diana and how she broke away from the life she chose. The life that makes her a star and the life. That killed her begins with the series being staged. With a grim flicker to make it look like a thriller. A military convoy arrived at Sandringham Mansion, an enormous six-story mansion built on 20,000 acres off the Norfolk coast, shaking a chest that looked like it contained a large gun. But no, they only brought food in the form of fruits and vegetables, lobster the size of an AK-47.
Which the British royal family will spend at Sandringham.
The consumption of food – fresh, sweet, spicy, juicy, rich in abundance – will be the focus of the celebration. When the chefs enter, they also stroll and film through those paramilitary kitchen rituals and the sight of a sporty little green car moving through the countryside. It is ruled by Diana (Kristen Stewart), the Princess of Wales. And the fact that she is alone is no coincidence. The weekend hasn’t even started yet, and the film is now telling us two things. That he broke up and he’s lost.
Lost. “Where am I?” Diana said, trying to keep the card while driving. He must know; this was his old residence, where he grew up, just a mile or two from Sandringham. But that’s no longer okay; he had messed up his spiritual compass. So he stops at a gas station and walked to a cafe for help. It’s a strange situation because Diana, in a red and green plaid jacket. Like she is the most famous and adored woman in the world.
“I’m sorry,” he told everyone in particular. “I’m looking somewhere. I don’t know where I am. “Can read this department in depth. Today, however, we see and hear Kristen Stewart, and it shudders when she says this line. Domineering and flirtatious waves of childish sincerity, we see Dee rule the room and feel the power that lies within.
And here’s the beauty part: right now, we feel like we’re looking at Diana.
The real thing. Kristen Stewart doesn’t just present herself (although she’s great on a fake level). It transforms; it changes its aspect, its rhythm, its karma. When we watch Diana play, we might see echoes of Stewart’s ambivalent relationship with the star. The way she stands on the podium, biting her lip, savouring the attention. Even when she’s a little uncomfortable (and even as she makes distrust of the limelight an essential element of her fame).
Most importantly, in Stewart’s Diana, we see a woman of domestic elegance. With charisma radiating from her. Only a part of her is now forced to destroy. That charisma because her life has become a disaster.
Spencer is a film made entirely following the plot of Laurent’s Jackie. The 2016 drama in which Natalie Portman brilliantly played Jackie Kennedy. A week after the assassination of JFK. Jackie is a knockout, and Spencer, who sees his heroine in a defining moment of truth and transition, is just as good; it could be better. Set during the Christmas holidays, roughly 10 years after Diana and Prince Charles married in 1981, the entire film takes the form of a daily voyeuristic diary of what Diana goes through when she realizes that the disappointments in her life have become very important, time-consuming.
We see a princess, a woman of true strength and majesty treated like a child in the film. Major Gregory, played by an exhausted and stiff-looking Timothy Spall. And his watchful gaze makes him feel like a chained insect. And Diana’s watchwoman, Maggie (Sally Hawkins), is her trusted confidant. But that’s why Maggie was sent. There can be no secrets. And nothing. At Sandringham, the walls have ears.