Story- Spencer Movie Review.


Star cast: Kristen Stewart, Timothy Spall, Jack Farthing, Stella Gonet, Sally Hawkins and Ensemble.

Director: Pablo Larrain

Ratings: 4.5/5 (four and a half stars)

Our Score

Let’s get our . to open Spencer review recalling the eternal sense of oppression that permeates the entire new film of Pablo Larraìn. We guessed it by looking at the beautiful poster, in which the Princess of Wales hides, denying herself before our very eyes, as if in a motion of rejection. Larràin, too, felt a stomach cramp, perhaps nauseous from all the overexposure from the media that Lady Diana did not spare, even when she was dead. This is why Spencer allows herself the luxury of taking so many things for granted. The public knows everything, it knows too much, and there’s no need to retrace the steps of years of wrinkled life. So Larraìn is aiming for a decisive weekend. Only three days in which Lady Diana (or rather: Diana Spencer) fights a psychological battle of its own, hovering between discouragement and vital impulses. Spencer plays Diana with love, passion and respect between Christmas Eve and Boxing Day. And it cements the painful rebirth of a sad princess with a Golden Lion movie.

Spencer Movie Review

Spencer Movie Review: Story

Spencer takes us to a very specific moment in the life of the the princess of wales: a Christmas in the early 90s where it was revealed that the marriage of Lady Di and Prince Charles could never work. His parallel relationship (and nothing hidden) with Camilla Parker Bowles had already blown up some illusion after the wedding, and she was carrying a heavy burden of unease, jealousy, and grief as she felt accustomed to fathering offspring that would secure the line of succession and see the succession curtailed. opportunity to be happy within the royal family.

Despite being in the ideal position to one day become Queen of England, Diana was desperate for her identity. every meeting with the royal family, which he considered stagnant in the past. During the three days of the Christmas weekend, Diana feels completely trapped and imprisoned, leading her to exhibit erratic and self-destructive behavior and star in a series of heartbreaking disagreements.

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A gradual process, which begins with the discomfort of the oppressed princess and then abandons her to make way for the daughter who is no longer there, for the woman who cannot be, for the mother she would like to become . All told through hard-earned glimpses of normality and highly believable visionary sequences. Immersed in a shiny nightmare (enhanced by the film’s pasty texture), Spencer is full of destabilizing scenes, in which the imagination of cinema shakes and draws great allegories without ever falling into rhetoric, blackmail and voyeur temptations.

The assessment and analysis

That leads to fear being a dominant feeling throughout the film, and little oases of truth can only be found during her inspired scenes. Sally Hawkins and she shares it with the young actors who bring her children to life. I won’t say we see her blossom there, but I will say she can be herself in a world that cancels and subdues her without being able to do much. You might do it in the first place, but sooner or later someone will find out that you’re not doing what you’re supposed to do, even if it’s just the dress you’re wearing at the time.


Of course ‘Spencer’ is committed to locking her in herself every time , something that perfectly mirrors Stewart’s interpretation, who transforms into Diana on all levels and shines in conveying that gradual emotional sinking with impeccable precision. The thought occurred to me that she was the last remaining native plant in a place that had been taken over by an invasive species. No matter how resistant you are, you will cease to exist to be the same as there is around you.

The unexpected arrival of an almost paranoid element partially alters the energy ‘Spencer’ exudes, namely when those excesses of the script he previously hinted at are more present, raising the question of whether she will lose herself completely or not. The answer is obvious by relying on a true story without wanting to make a Tarantino, but both Larraín and Stewart know very well what tricks to play to make that lose relevance. The chosen resolution may shock some, but it’s yet another way of reinforcing that play of contrasts I mentioned earlier one last time.

The last words

Spencer is An beautiful movie which perfectly captures his protagonist’s sense of fear when he is subjected to a way of life in which he is not recognized. Here Stewart delivers an Oscar-worthy performance, while Larraín reaffirms his knack for tackling this sort of story with a work that I believe is superior to the critically acclaimed ‘Jackie’.


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