Spencer (2021) Review : A tour de force Kristen Stewart showdown fills the aura with pain and struggle.

"This is a fable based on a true tragedy."

Pablo Larrain has a distinct feature of filming historical anecdotes in 70mm digital films, with a subtle tinted tone on them, giving it a certain sense of alluring the viewer onto the frames and capturing the atmosphere as much perfectly as possible.

While seen only two of his works, first one being the political venture No, which depicts one of the most tumultuous electoral events of Chilé, shot entirely on a Handycam, Spencer immerses into the life of Diana Spencer, not really a biography, but a glance into her world of isolation, concised in a week. The treatment is surely minimal and strikes the chords in the right notes as well, but it overdoes and falters the ultimate commentary of it.

The pillar of the film is undoubtedly a singular tour de force performance from Kristen Stewart, needless to say, her best till date, pitched at the right points of overdramatism and subtlety, maintaining a proctored balance, taking away all of the spotlights.

Jonny Greenwood's jazzy touch to Western Classical gives a rather modernistic outlook to the aura Diana creates as a freewilled oddball in a house filled with sophistication and pretentious aristocracy, and is surely another takeaway from this winner.

To comprise shortly, Spencer is a Kristen Stewart showdown with a thorough character analysis of her psychical testament that the film solely depends on, and that's absolutely praiseworthy when it comes to the strictly focused perspective laid down by Pablo Larrain, and paves the pathway for another feather in the cap of Stewart's astounding performances.