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Director Oliver Assayas knows how to deploy Kristen Stewart. In 'Personal Shopper,' Kristen Stewart plays a young woman dealing with an oppressive boss and a menacing specter. Read More

By Reno August 11, 2017

**Texting, shopping and Ghosting!**

This film was different. My bad, I did not quite get the title at first. I misunderstood it. I thought it was like a Shopaholic theme, a person with a shopping addiction. Then what I saw was different, and somewhere in the narration it explains what the title meant.

The real challenge watching it is the slow moving storyline. Dull and silent on most of the parts. But the mix of fantasy, like supernatural and regular drama brings interesting fact us to stay with it. Though the most of the film was about texting and shopping. I even thought does it any way connected to Stewart's previous film 'Clouds of Sils Maria'. Because there's something where both the films syncs with.

Despite being a bit boring film, Kristen Stewart is the reason it is watchable. Her performance was good, but again the mystery about the unexplainable things holds us as well. Definitely a watchable film, but not an entertaining film that you are looking for on a weekend. I'm not sure who is the target audience, but surely less people will think it is a fine film. So I hope you choose it carefully.


By Screen-Space January 29, 2017

"A lonely existence tormented by distant voices is examined in Olivier Assayas’ Personal Shopper, a moody, occasionally frustrating, often brilliant study in isolation, grief and disenfranchisement..."

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By Richard von Busack March 24, 2017

Very sexy and very scary, Personal Shopper is Oliver Assayas' follow-up to Clouds of Sils Maria, the film that proved a sharp and sensitive director could find a virtue in Kristen Stewart's air of neutrality. Assayas makes a display of this actress's humid eyes, firmly set mouth and smooth physique, but the ghost story isn't all about her vulnerability--it follows a few sidebars about the parapsychological activities of Victor Hugo, for instance, to get us ready for the point when Assayas starts playing the xylophone on the viewer's spinal cord.

Maureen Cartwright (Stewart) is a personal shopper for a very mean and extremely wealthy Parisienne. She carries on a frayed relationship via Skype with her boyfriend, who is working a long-term assignment in Muscat, Oman.

Maureen has an avocation--she's a medium and spends a night searching for ghosts in an empty house. It's the house where her twin brother, Lewis, died; her heart, like his, may be a time bomb ready to stop without warning. He'd always promised to send a message back to the world of the living. The film doesn't cheat: a ghost of swirling, smokelike ectoplasm reveals itself to Maureen early in the film. Later, she gets texts from some mysterious, omniscient being. It knows her every move, telling Maureen, "I want you, and I will have you."

There are three sound people credited here, and you'll see why. The soundscape goes beyond the eclectic mix of the score, including Marlene Dietrich's "Das Hobbellied," a song superficially about carpentry, but really about death as the great leveler of the world's classes.

As in David Lynch, the disturbing sound is more chilling than the disturbing image. The thump of a ghost answering questions has a wetness and echo to it, like the sound of rolling thunder diminishing. The dull, irritating buzz of a cellphone carrying threatening anonymous messages--perhaps from the hereafter--gives brand new punch to the old "the calls are coming from inside the house!" gimmick.