Xavier Dolan on ‘Jackie’Director: Pablo Larrain
(xavier dolan) I can’t think of a recent movie that’s filled me with ecstasy like “Jackie” did. It left me artistically intimidated and wonderstruck.Fragmental but never diffused, vaporous yet always precise, Pablo Larraín’s film is as organized as it is organic, and free.Over Mica Levi’s grand and disorienting score, the film plies between past and present, desperately looking for “Jackie O.” She isn’t hard to find.
With great style and sensibility, Natalie Portman surpasses herself. From gait to inflexions, laughter to stillness, she redefines modern acting: sublimating the inherent opportunity of the role into something temerously mortal, she might as well die before our eyes, killing herself to exist, unendingly.Noah Oppenheim’s screenplay delivers her those earth-shattering moments of implosion, the tectonic plates of his smartly interwoven chronologies colliding perfectly, with Portman dancing and stumbling soddenly on the fault line.
“Jackie” is distilled poetry, the story of a heartbreak, and the loss of ideals of a woman endowed with toxic power. Every shot, every outfit, every line, falls vertiginously in place with effortless virtuosity.I left “Jackie” with an urgent need to be better, to create indelible, lasting things. I often thought I’d burst into tears during the screening. It was only later that night that I realized that I wasn’t holding back tears of sadness, but those of wonderment for the talent of a group of extraordinary artists fighting for a bygone cinema anew.You can’t learn it. You can’t fake it. It can’t be right, it can’t be wrong. It can just be.