Kristen Stewart: The Actress Who Broke The Stereotypes About Herself

A life 2022

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Kristen Stewart: The Actress Who Broke The Stereotypes About Herself
Kristen Stewart: The Actress Who Broke The Stereotypes About Herself

Video: Kristen Stewart: The Actress Who Broke The Stereotypes About Herself

Video: Kristen Stewart Really Does Smile a Lot 2022, November
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Text: Alisa Taezhnaya

At the St. Petersburg festival "Message to Man" showed "Personal Shopper" by Olivier Assayas - a drama starring Kristen Stewart about a young girl who works as an assistant for a celebrity, and in her free time tries to communicate with the spirit of her twin brother. The film took part in the Cannes Film Festival this year, and Assayas has already filmed Stewart in Sils Maria: for the role the actress received the prestigious Cesar Prize of the French Film Academy - a unique case for a Hollywood movie star. Understanding how Kristen Stewart has changed over the years on the screen and from the star of the "Twilight" franchise has grown into a great actress - one of the strongest in her generation.

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“Playing” sounds like “lying” to me, and I try to do the opposite. When you “play” something, it’s as if you are manipulating people so that they feel certain things. And I don’t want to think that I am forcing feelings: that would mean that I am failing as an actress”. Stewart doesn't really force her to empathize or press on audiences: her casual and super-ordinary Bella Swan is perhaps the only way to cope with the kitsch romantic heroine and five parts of a ponderous saga. At the same time that Twilight has been taking pocket money out of teens for five years, both Stewart and Pattinson have launched other careers in which the youthful filming experience with yellow and burgundy eyes already seems like a ridiculous anecdote.

The desire to play low-key was evident in the first strong adult role in Entertainment Land. There, Kristen portrayed a student on a summer job, who runs away from a wealthy family to a stupid summer park so as not to see her stepmother and rich father. Her intrigue with Jesse Eisenberg's hero is devoid of any emotional special effects, and in contrast to the "Twilight", which brought fame, "Entertainment Land" looked like a soulful, simple and accurate movie about non-heroic youth. While the pale Bella Swan rode through the trees, Kristen chose other roles that developed into a strong and interesting acting biography. "Open, not display", - she says about the methods of her favorite directors that helped her grow. Sean Penn, Greg Mottola, Olivier Assayas, Kelly Reichardt, Woody Allen - she learned from everyone, turning from an obsession with Seventeen readers to an actress with directorial ambitions. Stewart recently filmed the first short film and confesses that he sees himself in the main chair on the set after filming all possible roles. Money has long ceased to matter: the real grace of the actor, in her opinion, is to work with those who think in stories, not dollars.

“I want to be seen and understood - I am ready to appear before the audience in the most honest, most sincere way”

Stewart grew up in Los Angeles in a family of filmmakers, at 8 she began acting, at 11 she got her first star role, at 18 - the first millions, and then more and more - now Kristen Stewart is 26 years old, and she herself is surprised that she can grow up. trace on screen roles. Never ceasing to be a superstar after "Twilight", she felt more confident precisely with the advent of great popularity. When the lenses are aimed at you 24 by 7, there is nothing left but to be yourself, no matter what person you are. Now Kristen - the face of Chanel and Balenciaga - is preparing for a wedding with her girlfriend. After coming out, she is less and less eager to meet media expectations, changed her style and, having come to the red carpet in an unbuttoned burgundy suit on her naked body, looks mature, calm and incredibly self-confident. “I really want to show myself. I want to be seen and understood - and I myself am ready to appear before the audience in the most honest, most sincere way."

The quieter her roles, the more noticeable how Stewart hypnotizes and absorbs the heroes, working to the depth. In the latest film, Olivier Assayas's Personal Shopper, Kristen plays a small fry: a celebrity's assistant stranded in Paris. Her duties during the day are to pick up the dresses and take the jewelry while riding a moped from one boutique to another. The job is stupid and pointless, just like the celebrity she works for. But there is also a twilight part of this story: suffering from a heart defect that led to the untimely death of her twin brother, the heroine Stewart feels the powers of a clairvoyant and seeks to connect with the soul of the recently deceased.

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Evening walks to an abandoned house, reading about spiritualism and mysterious dialogues with an unknown person via SMS, who knows the most intimate about the heroine - her real spiritual life is built around this, and not the facade of a personal buyer. Instead of forcing out the tragic role of herself, Kristen plays a person whose worries cannot be guessed from what lies on the surface: under the smooth voice, facial expressions and movements there lives a ghost who is interested in something different from what he is surrounded by. “She played what I wrote,” says scriptwriter and director Olivier Assayas in an interview, “but she took it to another dimension. This is the most exciting thing to witness."

Stewart is convinced that a person turns into himself when no one is looking at him: in the invisible moments of sleep, breathing, simple conversations and small things, we quietly walk along the only true path. Not all significant moments are tied to actions and not all feelings look convincing in polarities: she succeeds in conveying confusion, thoughtfulness, muffled melancholy and anhedonia without loud screams without visible efforts. Apparently, from this same property, the joke about resting bitchface and hundreds of questions about why she never smiles. Kristen Stewart actually smiles a lot, but her smile doesn't have the solemn sparkle that many celebrities have. Rather, it conveys the neutral benevolence of a person who does not dream of making the whole world fall in love with himself at once and is in his thoughts somewhere far away.

Aloof, seemingly submissive and also an assistant, Stewart has already played with Olivier Assayas in Sils Maria. With a casual hairstyle, in practical clothes, with laconic remarks and her own opinion, she embodied the idea of ​​everyday life. "Sils-Maria" is a Bergmanian in spirit and absolutely mesmerizing film, where mysticism is as unobtrusive as in "The Personal Shopper", side by side with practical relationships. This drama is the triumph of two actresses who are not alike in any way: Juliette Binoche with a royal posture and elusive sophistication and Kristen Stewart - with dirty hair, wearing a faded T-shirt Americans were not given half a century).

The actress and her assistant leave for the mountains to rehearse the play: one heroine of the play is 40, the other 20, they are inevitably drawn to each other, and the young manipulates the mature. The career of the heroine Binoche began when she played a 20-year-old, now she needs to play a 40-year-old, and the operational and pragmatic assistant easily throws lines, completes tasks and is always in the right place at the right time. But something in this play is alarming and restless: the clouds are thickening over the Swiss mountains, and the premiere poses painful questions for the actress about her own talent, relationships with people, future old age and death. Reflective and neutral, like any mirror, Stuart's heroine, Valentine, shows what others want to see. And it is precisely her soft presence that gives history the opportunity to turn around its axis many times. As in Loyal Customer, she is a shadow with her own life and motivations, an elusive and quiet creature in which it is impossible to find a cliché: her contours are drawn with a dotted line and she is made out of thin air.

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“More with feeling,” says one of Stewart's tattoos about the nature of acting and how feeling doesn't necessarily mean emotional peaks. Deaf, unsteady, unspoken feelings, which are replaced by actions, are best for her - and she herself knows this very well. How does it work? Yes, almost like in a dream. Eyes open, everything has already happened, as if it was not her. In A Few Women, the latest film by American indie director Kelly Reichardt, Kristen Stewart is groping as a reserved and deceptively expressionless Montana night school teacher: her adult farm student starts obsessively

follow the mentor. Stewart again says simple things in an even, unhurried voice, but with his body and face he tells much more than speech. God is in the details - it is the everyday poses, the mumbled eyes and concentrated gaze, whispers and platitudes that she does best. Once again, and with feeling, she plays the daughter of an Alzheimer's patient, a young beat girl and rock star, a hippie and a dystopian resident, never touching her acting limits. “I’m not here” - Stewart disappears, only the outline of her roles remains.

She succeeds in conveying confusion, thoughtfulness, muffled melancholy and anhedonia without apparent effort

In an interview, the actress explains how she began to feel better as she grew up: honesty towards herself led to an intuitive choice of directors and a game in which one cannot suspect falsity. When she talks about the first quarter of her life, she recalls the sadness, oversaturation and debilitating physical anxiety that are in the past. From competitive relationships in the female world, she came to the fact that most of all she values ​​women who are captured by their own creativity and interests - be it colleagues Juliette Binoche and Julianne Moore, musician and senior friend Patti Smith, idols Lizzie Borden or Joan Jett.

Opening her relationship with a girl and announcing her engagement, she felt happier: "As if I'm alive again." But most importantly, the image invented by the Twilight marketers has dissipated like smoke and the current Kristen Stewart bears little resemblance to the fox-faced starlet on the carpet 8 years ago. What a joy, she will say (and more than once), that you can get a haircut, dress and swear in interviews without looking back at the prevailing stereotype about you.

In Woody Allen's High Life, she sparkles with adventurism and cheerfulness, and shines with that warm beauty that people who live in harmony with themselves radiate. "How to feel like you belong to yourself and at the same time not stand on guard, depriving yourself of all the pleasures of life?" After a while, Stewart answers herself - in interviews and the roles of new women who did not exist in the cinema until recently, and it was high time for them to appear. "What worries me is to live truthfully, and this is how I live now." Stewart's screen and human liberation from the clichés she was awarded in the late 2000s is a symbol of the big changes that have happened to female characters in drama and women in films over the past few years.

Photos: Miramax Films, CG Cinéma, Arte France Cinéma, Film Science, FilmNation Entertainment

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