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article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><figure data-ttid="IameEmbed" class="IameEmbedWrapper-sc-dRedg cjyRVU iame-embed"><div data-ttid="IameEmbedContaer" class="IameEmbedContaer-hptgUZ fXVBaX"><div class="IameEmbedAspectRatWrapper-hFVJps BKpgQ"><iame class="IameEmbedContent-cMdiev csnuAY IameEmbedContent lazyload" height="90" width="100%" sandbox="allow-scripts allow-same-orig allow-popups" tle="Embedd Frame" data-src=" allowfullscreen="" allow="toplay *; encrypted-media *; clipboard-wre; toplay; fullscreen; picture--picture"></iame></div></div></figure><p class="has-dropp has-dropp__lead-standard-headg paywall">The airport Telluri, Colorado, is small and private. The town’s film ftival, held each year durg the Labor Day weekend, has a reputatn for timacy—celebri are not subjected to red rpets or rsetry, and the loomg mountas have a way of makg Hollywood seem garish and far away. This year, Kristen Stewart flew to Colorado om Venice, Italy, where “Spencer,” a new movie which she plays Prcs Diana, had jt premièred. The first reviews of her performance (“ ‘Spencer’ Stuns Venice, Earng Standg Ovatn and Osr Buzz”—<em>Variety</em>) were published as she slept above the Atlantic. She stopped at a hotel to change and have her dyed blond hair styled a msy updo, then went directly to the Werner Herzog Theatre, along wh Pablo Larraín, the movie’s director, arrivg only a few mut behd schle.</p><p class="paywall">Her look was neteen-fifti suburban dad: a black-and-whe bana shirt over a cropped whe tank top, blue jeans, red suè creepers, whe socks. Stewart, who was born and raised Los Angel, scrib herself as California to the re—she has “L.A.” tattooed on a wrist—and few people sce Jam Dean have looked better or more at ease a T-shirt and jeans. She seems to channel a leage of untercultural Amerin femy: rockabilly girls and punkett, Beat poets and skaters, Jordan Baker rather than Daisy Buchanan. She was nvcg as Joan Jett, the 2010 b-pic “The Runaways,” and as Marylou, the sixteen-year-old bri of Dean Moriarty, the 2012 adaptatn of “On the Road.” Now she was playg a different misf, the twentieth century’s most famo prcs. She told the dience that Telluri was the bt ftival, and that she’d never had more fun makg a movie. Then everyone settled to watch a film about nfement and spair set to a equently menacg sre of ee jazz.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">“Spencer” tak place durg the Royal Fay’s Christmas holidays at Sandrgham Hoe 1991, at a breakg pot  Diana’s marriage to the Prce of Wal. Surround by quiverg Christmas jelli and glisteng puddgs, the Prcs is cut off om the world and opprsed by royal tradns; eventually, she is hnted by the ghost of Anne Boleyn. The sre, by Jonny Greenwood, rais the tensn to nearly unbearable levels. Early the movie, Diana ss at dner the thro of an anxiety attack, drsed a green gown the same lor as the soup ont of her, and cnch to a strg of pearls. (The gems are a source of huiatn: Charl has bought the same prent for his wife and for his mistrs.) The necklace reappears later, fully tact, makg clear that Diana is mentally unravellg. “The piano wire snaps way quicker than I thought,” Stewart said, when I asked her about the scene. “Spencer” has ls mon wh “The Crown,” the Netflix seri about the Royal Fay, than do wh “Rosemary’s Baby” or “Gaslight,” films which the mental breakdown of the female lead is the ratnal rponse to nspiracy, and madns looks somethg like ristance.</p><p class="paywall">Thirteen years ago, at the age of eighteen, Stewart beme ternatnally famo as the star of “Twilight,” the adaptatn of a young-adult novel about vampir and werewolv the Pacific Northwt. The film and s sequels gave Stewart a legn of fans but, other quarters, fixed an imprsn of her as the oddly exprsive star of mawkish teen movi. Onle, a host of mem appeared featurg imag of Stewart wh ptns such as “Five movi, one facial exprsn,” or “I don’t always se, but when I do, I don’t.” The jok ptured somethg about Stewart’s naturalism and rtrat, quali of her actg that some fd ptivatg and others sctable.</p><p class="paywall">“There are certa actors and actrs that n bee, my ey, transparent,” Pablo Larraín told me, stg on a bench a park Telluri between screengs. He meant the adjective pejoratively. He went on, “You n see sometim a movie that is too transparent, so I don’t unrstand what I’m dog as an dience,” bee the filmmakers are “givg to me pletely digted.” Larraín, who grew up Santiago, Chile, is thoughtful and beard. He ma his first English-language film, “Jackie”—as Kennedy Onassis— 2016. That same year, Stewart starred “Personal Shopper,” an eerie art-hoe film about an Amerin Paris tryg to nnect wh the spir of her ad brother. In Stewart’s pictn of the isolatn of grief, Larraín saw the quali that he wanted his Diana. Both of Larraín’s parents have served the Chilean ernment; his mother, a scendant of one of the untry’s wealthit fai, was always terted Diana, he has said. “There’s somethg that need to be magic and, at the same time, very myster,” he told me of the role as he envisned . The veteran Brish screenwrer Steven Knight wrote a script for him, and he sent to Stewart. Then he lled her up, and, “wh her perfect Amerin accent,” she said, “Du, I’ll do .”</p><p class="paywall">“Spencer” mak e of Stewart’s mystery and magism but also ph her to styl of performance that her prev rol have not. She do an accent, of urse, and plsibly mimics Diana’s faiar mannerisms; she also imbu the character wh a melodramatic hyperbole that tak her beyond historil pictn and, at tim, to edy. Her Diana tri to shape-shift her way out of powerlsns—ey downst and voice breathy moments of pliancy, ch raised wh imperns when breakg l, her moods oscillatg unpredictably as she stris through the stle halls at a rapid clip, like a woman pursued.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Person holdg lndry basket talks to person g the puter." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“So, when you looked up your symptoms, did say to pla about csantly but never seek treatment?”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Tera Burns Parkhurst</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button 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fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">The day after the screeng, Stewart went paraglidg off a cliff, then attend a prs receptn for the film at an Italian rtrant on Telluri’s ma drag. She was acpanied by a few iends and her fiancée, the screenwrer Dylan Meyer, whom she began datg 2019, and who proposed to her this past summer. Stewart has publicly dated women for most of her adult life, shggg off the heteronormativy of tradnal Hollywood stardom wh a nonchalance that seems partly temperamental and partly generatnal. She mostly shi away om social media, though she ocsnally mak meos on Meyer’s Instagram. Her iends, practiced the art of standg on the sil, ma their way to the bar as she shifted to profsnal mo, ready to be led around the room by a publicist.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">I joed her, and watched as two ecstatic anizers of a film ftival Indianapolis volleyed effive pliments her way. Stewart cracked jok and stretched her quadriceps. Her California locutn, full of f-bombs and “dus,” seems to put people at ease. “I wish I was able to go to some of the more micro ftivals,” she said, before addg, “Not that your ftival is micro!” She grabbed her foot and mimed puttg to her mouth. They shooed her away, charmed. I stayed for another drk wh one of the pair om Indiana, who nfid to me over a Cosmo that, as much as he liked “Spencer,” he loved “Twilight.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">A few weeks later, I ma plans to meet Stewart Los Angel. She wanted to golf. Her dad tght her how when she was a child, and she had recently rumed the hab. She suggted that we meet at a cy urse Griffh Park. The dry September air hung hazy above brown hills, hummgbirds sipped at flowers, and elrly men shuffled around the green.</p><p class="paywall">If you Google Stewart’s name on any given day, you are likely to fd, on several Web s, tailed scriptns of what she wore while gettg an iced ffee or pickg up groceri. She arrived at the urse, whout any apparent paparazzi pursu, wearg jeans and a T-shirt, pk-tted sunglass, and Adidas. “I haven’t really figured out my golf look,” she admted. She walked behd the clubhoe to do rennaissance. “I like to gopher out first,” she said, squtg up at the drivg range, where a crowd of mostly male golfers drsed khaki pants practiced their driv. Someone was occupyg her preferred spot, a shady rner on an upper level wh a bench. “Maybe he’ll leave,” she said. We walked back to her black mivan—s name is Beth, she told me—and she retrieved her golf bag. After fillg a basket wh balls om a vendg mache, she unpacked her gear and put on a whe leather glove, keepg an eye on her spot. Then she turned to me. “So,” she said, “what do you want to talk about?”</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Stewart grew up Woodland Hills, a suburban L.A. neighborhood the San Fernando Valley. Her dad was a stage manager, overseeg the rehearsals that prece a shoot, and her mother was a script supervisor, rponsible for surg that there was ntuy between the scen of a film. Both parents often me home late, wh ndy pilfered om craft servic and stori about the long hours on lotn. Stewart thks that was her proximy to the energy of a movie set, wh s punishg schl and ördated effort, that drew her to actg. She dat her reer as a performer to the send gra, when, riddled wh anxiety, she sang a dreil song as part of a holiday pageant. Shortly afterward, a schoolmate’s parent advertised a workshop to teach children how to dn for TV and movi, and Stewart surprised her mother by askg to sign up.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="2by0nj"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="d9h9zl"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">The Stewarts were a crew-oriented fay, she told me, and playg stage mom on someone else’s set me wh some embarrassment for her mother. “I thk when I prented her wh this she was, like, ‘Sh, I’ve told her she n do anythg she wants, now I have to drive her to the fuckg dns.’ ” Stewart tried out for a number of mercials, but the artifice of advertisg didn’t e naturally to her. “I was so bad at dng for mercials—like ‘Try the soda pop,’ or whatever,” she told me. But, when she was about ten, she got the part of Patricia Clarkson’s tomboy dghter the die drama “The Safety of Objects.” A year later, David Fcher st her as Jodie Foster’s tomboy dghter his thriller “Panic Room.”</p><p class="paywall">The movie took several months to shoot, much of which Foster and Stewart spent a small room together. Foster, who began actg as a toddler and was famo by the time she was fourteen, told me, of her -star, “I n’t say she’s my doppelgänger, but I do feel like, when she was ltle, I felt everythg that she was feelg, and procsed thgs the same way.” In Fcher’s film, Foster plays a recently divorced mom re-startg her life an Upper Wt Si town hoe that is soon vad by a dopey rich kid and his partners, who are tryg to fd a hidn stash of money. Stewart, zoomg down hallways on a soter, wearg a Sid Vic T-shirt and a thumb rg, is a figure of loyalty a femized opposn. Even then, Foster told me, Stewart was an unual performer: “She shows onscreen how she stggl wh monstratg emotn.”</p><p class="paywall">“He’s ma a move,” Stewart said, referrg to the golfer her spot. We walked to the shady rner, which was ltered wh cigarette butts spe the flammabily of drought-stricken Los Angel. Stewart set down the basket of balls and selected a club. She hadn’t thought about “Panic Room” a while, she said, teeg up for a drive. What she remembers om her early years of actg is a fear of lettg people down, which was often so tense that she me to the set feelg nseated, wh sweaty palms. She also remembers the satisfactn of pleasg grownups. “I hope this don’t sound totally arrogant, but adults the room were moved,” she said. “Compared to what was gog on the third gra, seemed really ol.”</p><p class="paywall">Apart om the elementary-school dn class, Stewart never studied actg. For a long time, she rarely rehearsed, or even practiced her parts ont of a mirror. She preferred to learn her l on set, right before filmg, so that would seem, on mera, as if they had jt occurred to her. The Method, an approach to actg which one draws on personal memory, stck her as an alienatg prospect. But her foc on real feelg, rather than the outward exprsn of , do have some kship wh that technique. “Maybe I’m extremely Method,” she acknowledged, “bee is me, and there’s no separatn, and I believe so fully when ’s good.”</p><p class="paywall">“She has an unrealistilly high bar for her own thenticy,” Jse Eisenberg told me. Eisenberg -starred wh Stewart “Adventureland,” when she was seventeen and he was twenty-four. Later, they appeared together the actn edy “Amerin Ultra” and the Woody Allen film “Café Society”; for a moment, they seemed like the lennial answer to Tracy and Hepburn. “She once lled ‘Cut’ the middle of a take and said, ‘I’m sorry, I was lyg to you,’ ” Eisenberg relled. When they filmed “Adventureland,” a dramedy about llege kids workg at an amement park durg summer vatn, Stewart had not yet been st “Twilight,” but Eisenberg felt distctly that he was workg wh a movie star. “I don’t unrstand how to articulate that,” he said. “Which is why we have the words ‘movie star.’ But: an enigmatic qualy, mixed wh a naturalism, mixed wh an emotnal pth.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">While they were filmg, Ptsburgh, Cathere Hardwicke, the director who had been hired to adapt “Twilight,” flew there to dn Stewart for the role of Bella Swan, the girl who falls love wh a tortured vampire named Edward Cullen. Hardwicke had seen Stewart an early cut of “Into the Wild,” about a young man who leav society behd and ends up dyg the Alaskan wilrns. Stewart plays a girl who falls for him along the way; one scene, he do s-ups, obliv, as she gaz at him wh exasperatn and sire. Hardwicke saw her the kd of longg she need for Bella. She brought a young actor, Jackson Rathbone, wh her to Ptsburgh, and had him and Stewart rehearse scen a hotel room and improvise a park. “At the end of , I was jt nvced,” Hardwicke said. “She’s Bella. She’s got to be Bella, bee she keeps so ground and so real.” She add, “I built the whole film around her.”</p><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Close up of Kristen Stewart's face. She has msy bleached hair and is lookg away om the mera." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Of actg, Stewart said, “It is me, and there’s no separatn, and I believe so fully when ’s good.”</span></div></figure></le-embed><p class="paywall">One day, Hardwicke said, Stewart “jt kd of mentned that she was raised wh wolv, real wolv—that the fay took re of wolv.” (They were actually wolf hybrids, as Stewart’s mom, Jul, told <em>Us Weekly</em> 2013, after a neighbor acced her of harborg wolv on her property.) Of the director, Stewart said, “I jt thought she was—she felt <em>crazy</em>.” Stewart had seen Hardwicke’s teen drama “Thirteen,” which cleared her bar for thenticy. “She was kd of the perfect person to do a young-adult novel that had the dark romantic elements. She had this childlike openns and teen-age triggers, and her whole sensibily was that the movie was gog to feel horny and overnfint.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="5xphwa"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">To st Edward, Hardwicke had actors e to her hoe Los Angel to read wh Stewart and make out. “It was so clear who worked,” Stewart said, grng. “I was lerally jt, like . . .” She mimicked a swoon, droppg her golf club at the memory of Robert Pattson, the Brish actor who beme her -star and, for several years, her boyiend. Pattson, she said, had an “tellectual approach that was bed wh ‘I don’t give a fuck about this, but I’m gog to make this sg.’ And I was, like, ‘Ugh, <em>same</em>.’ ” She picked up her club and sed. “And, whatever, we were young and stupid and, not to say that we ma so much better, but that’s what need, and that’s what anybody playg those parts need to feel.”</p><p class="paywall">Acrdg to Hardwicke, Summ Entertament, the stud that produced “Twilight,” thought that the movie was parable sle to “The Sisterhood of the Travelg Pants,” a 2005 teen movie that ma about forty ln dollars at the box office. “Twilight” ma nearly that much on s first day, and the anchise went on to earn more than three billn dollars worldwi. Although the books are ostensibly pro-abstence—their thor, Stephenie Meyer, is a vout Mormon—Stewart approached the film’s make-out scen as though she were the one gog for the kill. Bella driv an old pickup tck and wears legggs to the prom. Edward, who reads mds, nnot perate hers. “She nfounds all!” another vampire exclaims.</p><p class="paywall">Stewart had to rece such l as “There was a part of him, and I didn’t know how domant that part might be, that thirsted for my blood,” and “Hello, biceps!” She and her stmat had to answer an endls barrage of qutns om reporters and Comic-Con atten about what was like to kiss one another or to act out some of the anchise’s weirr plot twists, such as when Bella giv birth to a half-human, half-vampire who bonds wh Jab, the blue-llar werewolf played by Taylor Ltner.</p><p class="paywall">“It was very naïve, the bt way,” Stewart told me. She had spent her adolcence beg tutored durg film shoots; “Twilight” was llege for her. It also gave her a public scrim that she found eful. “Like, how fun for people to thk they know you,” she said, sg slyly. “Did you thk I was gog to do ‘Twilight’ forever? Is that how you saw me? If that’s how you saw me, then you really set me up for succs, bee I n do way more than that.”</p><p class="paywall">Stewart shot a handful of smaller films between “Twilight” stallments. Then, around the time that filmg wrapped on the fifth and fal part, she was st as the lead “Snow Whe and the Huntsman,” which execs envisned as the start of a major anchise. A few weeks after s release, <em>Us Weekly</em> published photographs of Stewart makg out wh the movie’s married, forty-one-year-old director, Rupert Sanrs. Although the film ma about four hundred ln dollars, a planned sequel was reworked as a spoff, wh different actrs. “The work, to me, genuely was ignored a really sort of ivolo, silly, petty way for a group of adult people who were supposed to be nng studs and makg films,” Stewart said later.</p><p class="paywall">For the next several years, Stewart ma maly pennt movi—three or four of them nearly every year. She was “prifully reckls” choosg rol, she told me. “If there was one scene a script that I really wanted to do, and I hated the rt of , I would still do ,” she said. She would thk that the movie might not turn out so bad; she would often be wrong. She recently told an terviewer that she had “probably ma five really good films” a reer of about fifty so far. “There are movi that I look at, retrospect, and I thk, Valiant effort, sure, but we jumped the gun,” she told me. When a productn did not meet her expectatns, she would ocsnally vent to her makp artist, whom she has worked wh sce her teens. “There are tim,” Stewart said, “when I will lerally go over to her and be, like, ‘What the fuck are we dog wh our liv? We need to get out of here. I’m gog to ll a bomb threat.’ ” She add, “It really sucks to be on a movie set that’s clearly not nailg , but I’m really ed to . You get better at crossword puzzl.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p class="paywall">The bt movi mostly told stori of ordary liv. In “Still Alice,” Stewart plays the dghter of a profsor wh Alzheimer’s (Julianne Moore, who won an Osr for her performance). Stewart giv the character an unflchg steads, refg to turn away embarrassment or change her tone of voice as her mother’s gnn cl. In Kelly Reichardt’s anthology film “Certa Women,” Stewart is a moy Montana lawyer who flects an unwanted iendship whout words. In sweet but slowly vastatg two-hand scen, she wears the kd but ozen exprsn of someone who don’t want to acknowledge another person’s vulnerabily. Reichardt was stck by the fact that Stewart wanted to e to Montana to play a supportg role her quiet ensemble movie. “My take was she was out lookg for experienc,” she said. “Maybe once you’ve done your early stuff and you’ve h already, you’re kd of ee, and you do what you want.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="7wsj8"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="awubbv"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">Stewart told me that she n now talk to a director for a few moments, even one whose films she admir, and know that won’t work out. She looks for filmmakers wh a sensibily that is “spirual, unarticulated, emotnal,” she said, addg, “There are certa directors that feel otherworldly to me.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Last year, the sixty-six-year-old French director Olivier Assayas gave a speech lled “Cema the Prent Tense,” which he addrsed, among other thgs, the state of Hollywood. “I have practilly nothg posive to say about ,” he clared, “except that this dtry’s prospery and new modali do not light me, they ighten or even repulse me.” Assayas lamented, particular, “the nfistn of screens the service of (mostly Disney-stud) anchis, whose hegemony now seems absolute.”</p><p class="paywall">The quasi-femism of a “Wonr Woman” or a “Black Widow” notwhstandg, the tentpole anchis of Hollywood have been pecially dismal for female actors. While Stewart was fishg the “Twilight” seri, the French actrs Juliette Boche told Assayas that she wanted to work wh him. In rponse, he wrote “Clouds of Sils Maria,” an English-language film set Swzerland that n be seen, part, as a crique of the domant machery of ntemporary movi, which the greatt actors of our time are subjected to the digni of the Marvel Cematic Universe and dienc watch mor variatns on the same six or seven characters every three or four years until we die. Boche plays a French film star, Maria, who has been st a play oppose a Hollywood génue named Jo-Ann, whose reer (which clus a starrg role a Hollywood anchise) and bsh wh sndal (a flg while a highly publicized relatnship) bear a strikg remblance to those of Kristen Stewart.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Mother distracted by her phone and makg her child wa." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“Hold on—Mommy’s jt tryg to fish readg the Inter.”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Tera Wong</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button 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class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMsage-jgAjgo bVCFRm ifgabc iOlxjf alert-msage"><p aria-hidn="te">Lk pied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 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fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Assayas offered Stewart the role of Jo-Ann, but she told him that she would rather play Maria’s assistant, a young woman named Val, who talks Maria through her anxieti and, one scene, fends the rrigible Jo-Ann, who was ultimately played by Chloë Grace Moretz. “She’s not pletely antiseptic like the rt of Hollywood,” Val says. “She’s brave enough to be herself. At her age, I thk that’s pretty fuckg ol.”</p><p class="paywall">“I thk Kristen had fun jt toyg wh her own fame and her own relatnship wh that tabloid stuff,” Assayas told me, on a vio ll om a set Paris, his hair mpled by a pair of headphon. He was shootg a TV adaptatn of his 1996 film “Irma Vep.” (Stewart has a small part the seri.) Playg Val, he said, gave Stewart “a chance to turn a new leaf and start om somewhere else. Somewhere else beg herself.” Boche told me that she was stck by Stewart’s openns, and also by “her pacy of learng l a mute.” She add, “As for me, tak ag—’s like I need to go over and over and over so gets to my body. As for her, she jt and she has her. Also, was her language, so she felt fortable changg and makg hers, like a glove for her soul.”</p><p class="paywall">For her performance, Stewart won a César, the French equivalent of an Osr. (She is the only Amerin woman to have done so.) The film was partly fanced by Chanel, and s release roughly cid wh the begng of Stewart’s own relatnship wh the fashn hoe, which has gone beyond the ual advertorial arrangements, at tim remblg the partnership that Audrey Hepburn once had wh Givenchy. (Karl Lagerfeld st Stewart as an actrs playg Co Chanel a short film he directed 2015, and the brand also ntributed stum to “Spencer.”) “There’s an elevated ambn to wantg to work wh them,” Stewart told me, speakg of Chanel. “You’re, like, ‘Oh, so that’s the bt one? Cool, I gus I’ll do that.’ When I was younger, I jt wanted to be a wner.”</p><p class="paywall">After “Sils Maria,” Assayas wrote “Personal Shopper,” which centers on another assistant, Mreen, whose viss to the Chanel showroom, on behalf of the mol who employs her, bee an element of the plot. The movie is part ghost story and part murr mystery; the role of Mreen seems wrten for Stewart, though Assayas told me that, if he wrote for her, he did so subnscly. The exquise drs that Mreen tri on the urse of her job—her hair unkempt, her face whout makp—do nothg to hi the grief she holds her body. Drivg Paris on a motor soter, weavg through traffic, Mreen mumbl to herself, trapped recursive thoughts about someone who is no longer there. Rellg an image of a bloodied rpse while on a vio ll wh her boyiend, she shudrs and half bs her ey, as if she uld physilly shed the memory. Some actors, tasked wh the portrayal of trmatic enunters amid personal loss, might tend toward sobbg or hyperventilatn. Stewart shows a person whose md is operatg on multiple tracks; ’s a mmerizg stggle, the visual renrg of a divid telligence.</p><p class="paywall">“I felt that I was directg the film om the outsi and she was directg om the si,” Assayas told me. The movie is full of long tak which Stewart dictat the pace of the actn, he noted. “She appropriated the character,” he went on, “and put herself a suatn where the visible, or the magic of cema, or the world around her, be natural.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">When Stewart portrayed the actrs Jean Seberg, the 2019 b-pic “Seberg,” she tried to get some of the puffs that Seberg, a heavy drker, had her face. To get the young Joan Jett’s nce, “The Runaways,” she listened to letters on tape which Jett rerd when she was thirteen. Playg Diana, one of the most documented women of her era, required preparatn on another level. Stewart worked wh a dialect ach for four months. “It’s such an all-enpassg, physil, head-to-toe experience soundg like that,” she told me. “It chang what you look like pletely.” She also studied endls photographs and vios of Diana. She relled a particular vio, of Diana on a boat, which she turns and lights up at the sight of her children, and another which she ems a strange and ngo lgh. Stewart noticed how unfortable Diana uld look when she was drsed up, “jt juttg out every way possible,” as Stewart put , trapped a tyranny of ridiculo hats. (Diana’s “human awkwardns and emotnal ntence showed her every gture,” the novelist Hilary Mantel once wrote.)</p><p class="paywall">Most of “Spencer” was shot stl Germany, early 2021, durg the bleak panmic wter. Stewart was expectg a big crew and the elaborate stagg of a historil drama, but she often worked near-solu, wh Larraín and Claire Mathon, the cematographer. Mathon shot on film, equently closp, and, to Stewart, felt as though the tr beme a “three-head animal,” whose movements were propelled by Larraín’s “fervent, sane, psychotic nfince.” Upon enterg the set, Larraín would tell Stewart to “hab the space,” an old mantra om his days the theatre. As he relled, Stewart would reply, “What the fuck do that mean?” But she rarely need him to articulate further, he said. Stewart, for her part, felt that Larraín had got si Diana’s head. “There were tim where he would repeat somethg, or say somethg that I was about to say, and he would channel Diana a way that was jt strikg,” she told me. “There were days on the movie where I was, like, ‘Do you want to wear the drs? Bee I’ll give to you.’ He don’t look right for the part, but he uld have played her.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-4 viewport-monor-anchor"></div><p class="paywall">As a child, the eighti, I had a set of Prcs Diana paper dolls that me wh a variety of accsori: weddg drs, sus, a ridg outf, babi. I thought of them while watchg the unexpected climax of “Spencer”: a wordls and thartic dance montage. Diana, ught between the end of her marriage and the life still to e, sps down stle halls and ns through garns, pivotg and glidg to Greenwood’s surgg sre, wearg inic outfs that reprent var stag of her life. For this sequence, Stewart did not prepare at all. In pre-productn, she said, she sometim asked Larraín what she would be wearg the scene, and whether there would be choreography. Every time, he would tell her, “Yeah . . . I don’t know.”</p><p class="paywall">Rather than shoot the sequence all at once, they filmed a piece of at the end of nearly every day. Stewart would put on a chiffon gown or a su; Larraín would pick a hallway or a ballroom for her to move , and play mic through a large speaker: LCD Soundsystem, or Bach, or Séad O’Connor, or Lnel Richie (a favore of Diana’s). “I don’t know how to move like Diana,” Stewart told me. “She was a dancer. I’m not a fuckg dancer.” And so there was always an element of disvery. “It was so unbridlg and so shockg at tim, and so emotnal,” Stewart said. “It’s like dog yoga and you sudnly stretch your hips a certa way and start cryg, and you’re, like, What is that?” What rulted is a scene that, for a few moments, giv you a glimpse of a person who was not allowed to exist.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">The Amy of Motn Picture Arts and Scienc lov a portrayal of a historil figure. In the past , has award Bt Actrs to Meryl Streep for playg Margaret Thatcher, to Olivia Colman for playg Queen Anne, and to Renée Zellweger for playg Judy Garland. “I’ve never been the nng, if you want to put like that,” Stewart told me. For each goln statuette, there is a get-to-know-you mpaign that, at tim, has all the glamour of a race for state senate. “I do not want to seem like an ass, but ’s so embarrassg and so tirg,” she said. “It is highly polil. You have to go talk to people. You feel like you’re a diplomat.”</p><p class="paywall">So was that, a few hours after golf, Stewart arrived for a post-screeng Q. & A. wh members of the Amy. She had been iffed and styled a blazer and heels. (Before reachg the stage, she replaced the heels wh sneakers.) The screeng was held at the headquarters of the Directors Guild of Ameri, where the lobby is rated wh black-and-whe photographs of famo directors on set. Afterward, a wood-panelled receptn room outfted wh gilt chairs and fairy lights, the dience gathered for a Brish-themed receptn: cucumber sandwich, shepherd’s pie, fish and chips. The mood was that of a weddg at which distant relativ awa their turn to ngratulate the bri.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Snake talks to Adam about Eve the Garn of En." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“On the pl si, you get to blame her for everythg forever.”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Ey Flake</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to 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class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMsage-jgAjgo bVCFRm ifgabc iOlxjf alert-msage"><p aria-hidn="te">Lk pied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">I was cnchg through the nfectnery pearls that rated a osted vanilla cupke when a man wh whe hair stck up a nversatn. His name was Andrzej Bartkowiak. (“You’ve seen my work,” Bartkowiak, a cematographer, said. He was right.) Bartkowiak had a few mor issu wh “Spencer,” he told me, but not wh Stewart’s performance, which he scribed as “ptivatg” and “flawls.” This seemed like a good sign: spe the Amy’s efforts to diversify recent years, men of Bartkowiak’s approximate generatn and crentials rema an important mographic. Before leavg, he went over to share the thoughts person, and I watched Stewart accept his ngratulatns.</p><p class="paywall">Stewart has already filmed “Crim of the Future,” wh David Cronenberg, and she’s about to shoot “Love Me,” which will -star Steven Yn. She scrib the latter as a love story between a satelle and a buoy; has somethg to do wh gettg puters to love one another, she said, and the mach “sort of morphg and out of every genr and race, and, like, there’s no orientatn, there’s jt humany.” Stewart is also workg on her début feature as a director, an adaptatn of “The Chronology of Water,” a memoir by Lidia Ynavch.</p><p class="paywall">The book me to Stewart as an algorhmilly generated remendatn on her Amazon Kdle. In , she saw somethg that she’d never seen onscreen. “It kd of celebrat a certa taboo,” she told me, “that shame fds self sexually women. The ways that she acknowledg beg embarrassed, and self-hatg, but that also really turns her on, is one of the really difficult and plited relatnships we have wh beg women this body a fully patriarchal society.” The memoir follows Ynavch through a stillbirth, multiple hbands, and the pursu of sexual experience wh lovers male and female; has meos om lerary mentors cludg Ken Key, Kathy Acker, and Lynne Tillman. The memoir was a word-of-mouth h, and Ynavch told me that there were others who wanted the film rights. Stewart, she said, won her over wh a long letter “wrten the language of a visnary.” Ynavch shared wh me a sgle, out-of-ntext le: “And to those who dwell siarly this fuck me, fuck realm of cripplg self doubt and fortified albe false EGO, be proud bee today, ‘fuck ’ won.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="2zanff"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">The memoir’s prose is visceral, and s stcture is cidly unchronologil; do not seem, at first glance, easily adaptable, and Stewart has been toilg at the script for years. At one pot, she spent three weeks livg a van outsi Ynavch’s hoe, Oregon. Stewart’s fiancée, Meyer, whose screenwrg creds clu an adaptatn of the young-adult novel “Moxie,” which me out on Netflix earlier this year, has read drafts. “I’ve been wh people where work isn’t at the foreont of the thg and therefore you don’t do as much,” Stewart, who seems to work nstantly, told me. “That’s not good for me. I don’t like that. When you fd somebody that, every aspect of your life—well, I gus I don’t have many aspects. I want to make movi. That’s primarily what I want to work on, and we share that, luckily.”</p><p class="paywall">On a sunny afternoon October, I went to see Stewart at an Italian rtrant Los Feliz. In the weeks sce I’d last seen her, she’d travelled to Paris, for Fashn Week, and to London, for the Brish première of “Spencer.” She was startg to get a ltle tired of talkg about the movie, she nfsed. She sound happy to be back L.A.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-5 viewport-monor-anchor"></div><p class="paywall">I found her stg the rner of a panmic-era outdoor seatg area, where plywood walls shield her om the street. She had a MacBook open and was chattg wh a close iend, who briskly exced himself even as I apologized for beg early. Stewart quickly snned her surroundgs—a large man g rapidly down the siwalk momentarily startled her—before settlg to talk. Not until we’d left did she mentn that a photographer had been lurkg nearby the whole time. (The <em>Daily Mail</em>, a few hours later: “Kristen Stewart nails an effortlsly ol look jeans while rryg a backpack over her shoulr as she leav lunch Los Angel.”)</p><p class="paywall">In addn to “The Chronology of Water,” Stewart is wrg a TV seri wh Meyer and velopg a gay ghost-huntg realy show wh a iend, which she has scribed to me as “a paranormal romp a queer space,” wh elevated athetics. “Gay people love pretty thgs,” she add. “So we are aimg for a richns.” She showed me a uple of pch cks on her laptop. In 2017, Stewart directed a short film, lled “Come Swim,” which has the moody atmospherics of a mic vio: ra on wdowpan, saturated lor rrectn, anx smokg. The look book for “The Chronology of Water” had imag of blood, swimmg pools, grim neteen-seventi livg rooms, the grassy bed of the Ichetucknee River, Florida, a childhood photograph of Ynavch and her sister. “I want to fuck wh a spl screen,” Stewart said, studyg my reactn as I scrolled through the imag. “Like, genuely shredd memori. I want seasons. I want the movie to have spe.”</p><p class="paywall">Stewart will pch the movie to studs wh the lead role already st. She had been watchg dozens of dn vios for weeks, and had narrowed her choic down to four women. In the g days, she would workshop the role wh them, as Hardwicke had done wh her for “Twilight.” She need someone wh stama, she said, bee the movie would be shot the urse of several months. She hoped to fd someone faiar wh the wrers who appear the book—an actrs her early thirti, preferably, who don’t look too old for the scen when the character is her twenti or too young for those set her forti. Someone who is not yet wildly famo.</p><p class="paywall">“I see this as beg one of the greatt rol for a woman,” Stewart said. “Like, someone uld be so good at , you know?” Whenever she talked about directg, somethg her manner changed—a hungrier self emerged, a si of her enlivened by the prospect of beg unfed, and ncerned wh makg the right imprsn. She had sent the script to prev llaborators whom she admired, cludg Julianne Moore. “I want to make somethg that’s gonna, like, stk and be horribly embarrassg but also make you fuckg wet, and jt be really hont,” she said. “Do you know what I mean? I want to do a g-of-age movie that actually nsirs young women. They’ve never fuckg done .”</p><p class="paywall">The scene that the actrs read for their dns was a nversatn wh Ken Key, who offers the lead character some of the first enuragement she receiv as a wrer. Stewart watched tently, her md not yet ma up. “She would be such a fuckg iend this—like, I n tst her,” she said, of one actrs. Of another: “She feels —’s real for her.” Still, she was wag for a five sign. “Someone is gog to do the right thg and is gog to get the part  the moment that they get ,” she said. “I’m gonna be, like, ‘And there the fuck you are! O.K., great. Let’s go.’ But somebody needs to take .”</p><p class="paywall">I asked Stewart if she was lookg forward to beg charge, but she said that, for her, directg would be a kd of lettg go. “I nnot wa to share the weight of this,” she told me. Usually, she se as her rponsibily to take on all the feelg of a movie and project to the world. “I’ll be fully feelg all the thgs wh the person, but I have to give to someone, and I’ve never done that,” she said. “I’ve always been, like, ‘I got , I got , I got , I n do this.’ It’s gog to be tertg to let someone else have their own experience wh , and fall more love wh that than what I uld have ever dreamed of.” ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="2ya4pw"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2021/11/22" data-reactroot="">November 22, 2021</a>, issue, wh the headle “Get Real.”</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div 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SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Daily Cartoon</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Daily Cartoon: Monday, July 10th</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Daily Cartoon: Monday, July 10th" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">“You there, boy, what new text-based social-media app is today?”</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Adam Sacks</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff kHfIxy summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Cartoons About Therapy om the Past Century (Well, Almost)" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Cartoon Dk</span></div><a class="SummaryItemHedLk-civM cZPaWG 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media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Cartoons About Therapy om the Past Century (Well, Almost)" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Selectns om the magaze’s ep archive of drawn nros.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>The New Yorker</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff kHfIxy summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div 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rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The talkg cure and other pursus of feelg better.</div></div></div><div class="SummaryItemWrapper-iwvBff kHfIxy summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW 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outdoors leang forward and lookg directly at..." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></div></div></div></div><div class="GridWrapper-cAzTTK eRggVV grid grid-margs grid-ems-0 SplScreenContentHearGrid-kFpOdh fLkIyA"><div class="GridItem-buujkM kHPPIF grid--em"><div class="CaptnWrapper-jSZdqE iTuhkZ ptn SplScreenContentHearCaptn-iOfEOv ckLUKG"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Stewart ed to learn her l right before filmg, so that would seem, on mera, as if they had jt occurred to her.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photographs by Elle Pérez for The New Yorker</span></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS 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article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><figure data-ttid="IameEmbed" class="IameEmbedWrapper-sc-dRedg cjyRVU iame-embed"><div data-ttid="IameEmbedContaer" class="IameEmbedContaer-hptgUZ fXVBaX"><div class="IameEmbedAspectRatWrapper-hFVJps BKpgQ"><iame class="IameEmbedContent-cMdiev csnuAY IameEmbedContent lazyload" height="90" width="100%" sandbox="allow-scripts allow-same-orig allow-popups" tle="Embedd Frame" data-src=" allowfullscreen="" allow="toplay *; encrypted-media *; clipboard-wre; toplay; fullscreen; picture--picture"></iame></div></div></figure><p class="has-dropp has-dropp__lead-standard-headg paywall">The airport Telluri, Colorado, is small and private. The town’s film ftival, held each year durg the Labor Day weekend, has a reputatn for timacy—celebri are not subjected to red rpets or rsetry, and the loomg mountas have a way of makg Hollywood seem garish and far away. This year, Kristen Stewart flew to Colorado om Venice, Italy, where “Spencer,” a new movie which she plays Prcs Diana, had jt premièred. The first reviews of her performance (“ ‘Spencer’ Stuns Venice, Earng Standg Ovatn and Osr Buzz”—<em>Variety</em>) were published as she slept above the Atlantic. She stopped at a hotel to change and have her dyed blond hair styled a msy updo, then went directly to the Werner Herzog Theatre, along wh Pablo Larraín, the movie’s director, arrivg only a few mut behd schle.</p><p class="paywall">Her look was neteen-fifti suburban dad: a black-and-whe bana shirt over a cropped whe tank top, blue jeans, red suè creepers, whe socks. Stewart, who was born and raised Los Angel, scrib herself as California to the re—she has “L.A.” tattooed on a wrist—and few people sce Jam Dean have looked better or more at ease a T-shirt and jeans. She seems to channel a leage of untercultural Amerin femy: rockabilly girls and punkett, Beat poets and skaters, Jordan Baker rather than Daisy Buchanan. She was nvcg as Joan Jett, the 2010 b-pic “The Runaways,” and as Marylou, the sixteen-year-old bri of Dean Moriarty, the 2012 adaptatn of “On the Road.” Now she was playg a different misf, the twentieth century’s most famo prcs. She told the dience that Telluri was the bt ftival, and that she’d never had more fun makg a movie. Then everyone settled to watch a film about nfement and spair set to a equently menacg sre of ee jazz.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">“Spencer” tak place durg the Royal Fay’s Christmas holidays at Sandrgham Hoe 1991, at a breakg pot  Diana’s marriage to the Prce of Wal. Surround by quiverg Christmas jelli and glisteng puddgs, the Prcs is cut off om the world and opprsed by royal tradns; eventually, she is hnted by the ghost of Anne Boleyn. The sre, by Jonny Greenwood, rais the tensn to nearly unbearable levels. Early the movie, Diana ss at dner the thro of an anxiety attack, drsed a green gown the same lor as the soup ont of her, and cnch to a strg of pearls. (The gems are a source of huiatn: Charl has bought the same prent for his wife and for his mistrs.) The necklace reappears later, fully tact, makg clear that Diana is mentally unravellg. “The piano wire snaps way quicker than I thought,” Stewart said, when I asked her about the scene. “Spencer” has ls mon wh “The Crown,” the Netflix seri about the Royal Fay, than do wh “Rosemary’s Baby” or “Gaslight,” films which the mental breakdown of the female lead is the ratnal rponse to nspiracy, and madns looks somethg like ristance.</p><p class="paywall">Thirteen years ago, at the age of eighteen, Stewart beme ternatnally famo as the star of “Twilight,” the adaptatn of a young-adult novel about vampir and werewolv the Pacific Northwt. The film and s sequels gave Stewart a legn of fans but, other quarters, fixed an imprsn of her as the oddly exprsive star of mawkish teen movi. Onle, a host of mem appeared featurg imag of Stewart wh ptns such as “Five movi, one facial exprsn,” or “I don’t always se, but when I do, I don’t.” The jok ptured somethg about Stewart’s naturalism and rtrat, quali of her actg that some fd ptivatg and others sctable.</p><p class="paywall">“There are certa actors and actrs that n bee, my ey, transparent,” Pablo Larraín told me, stg on a bench a park Telluri between screengs. He meant the adjective pejoratively. He went on, “You n see sometim a movie that is too transparent, so I don’t unrstand what I’m dog as an dience,” bee the filmmakers are “givg to me pletely digted.” Larraín, who grew up Santiago, Chile, is thoughtful and beard. He ma his first English-language film, “Jackie”—as Kennedy Onassis— 2016. That same year, Stewart starred “Personal Shopper,” an eerie art-hoe film about an Amerin Paris tryg to nnect wh the spir of her ad brother. In Stewart’s pictn of the isolatn of grief, Larraín saw the quali that he wanted his Diana. Both of Larraín’s parents have served the Chilean ernment; his mother, a scendant of one of the untry’s wealthit fai, was always terted Diana, he has said. “There’s somethg that need to be magic and, at the same time, very myster,” he told me of the role as he envisned . The veteran Brish screenwrer Steven Knight wrote a script for him, and he sent to Stewart. Then he lled her up, and, “wh her perfect Amerin accent,” she said, “Du, I’ll do .”</p><p class="paywall">“Spencer” mak e of Stewart’s mystery and magism but also ph her to styl of performance that her prev rol have not. She do an accent, of urse, and plsibly mimics Diana’s faiar mannerisms; she also imbu the character wh a melodramatic hyperbole that tak her beyond historil pictn and, at tim, to edy. Her Diana tri to shape-shift her way out of powerlsns—ey downst and voice breathy moments of pliancy, ch raised wh imperns when breakg l, her moods oscillatg unpredictably as she stris through the stle halls at a rapid clip, like a woman pursued.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Person holdg lndry basket talks to person g the puter." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“So, when you looked up your symptoms, did say to pla about csantly but never seek treatment?”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Tera Burns Parkhurst</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button 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7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">The day after the screeng, Stewart went paraglidg off a cliff, then attend a prs receptn for the film at an Italian rtrant on Telluri’s ma drag. She was acpanied by a few iends and her fiancée, the screenwrer Dylan Meyer, whom she began datg 2019, and who proposed to her this past summer. Stewart has publicly dated women for most of her adult life, shggg off the heteronormativy of tradnal Hollywood stardom wh a nonchalance that seems partly temperamental and partly generatnal. She mostly shi away om social media, though she ocsnally mak meos on Meyer’s Instagram. Her iends, practiced the art of standg on the sil, ma their way to the bar as she shifted to profsnal mo, ready to be led around the room by a publicist.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">I joed her, and watched as two ecstatic anizers of a film ftival Indianapolis volleyed effive pliments her way. Stewart cracked jok and stretched her quadriceps. Her California locutn, full of f-bombs and “dus,” seems to put people at ease. “I wish I was able to go to some of the more micro ftivals,” she said, before addg, “Not that your ftival is micro!” She grabbed her foot and mimed puttg to her mouth. They shooed her away, charmed. I stayed for another drk wh one of the pair om Indiana, who nfid to me over a Cosmo that, as much as he liked “Spencer,” he loved “Twilight.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">A few weeks later, I ma plans to meet Stewart Los Angel. She wanted to golf. Her dad tght her how when she was a child, and she had recently rumed the hab. She suggted that we meet at a cy urse Griffh Park. The dry September air hung hazy above brown hills, hummgbirds sipped at flowers, and elrly men shuffled around the green.</p><p class="paywall">If you Google Stewart’s name on any given day, you are likely to fd, on several Web s, tailed scriptns of what she wore while gettg an iced ffee or pickg up groceri. She arrived at the urse, whout any apparent paparazzi pursu, wearg jeans and a T-shirt, pk-tted sunglass, and Adidas. “I haven’t really figured out my golf look,” she admted. She walked behd the clubhoe to do rennaissance. “I like to gopher out first,” she said, squtg up at the drivg range, where a crowd of mostly male golfers drsed khaki pants practiced their driv. Someone was occupyg her preferred spot, a shady rner on an upper level wh a bench. “Maybe he’ll leave,” she said. We walked back to her black mivan—s name is Beth, she told me—and she retrieved her golf bag. After fillg a basket wh balls om a vendg mache, she unpacked her gear and put on a whe leather glove, keepg an eye on her spot. Then she turned to me. “So,” she said, “what do you want to talk about?”</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Stewart grew up Woodland Hills, a suburban L.A. neighborhood the San Fernando Valley. Her dad was a stage manager, overseeg the rehearsals that prece a shoot, and her mother was a script supervisor, rponsible for surg that there was ntuy between the scen of a film. Both parents often me home late, wh ndy pilfered om craft servic and stori about the long hours on lotn. Stewart thks that was her proximy to the energy of a movie set, wh s punishg schl and ördated effort, that drew her to actg. She dat her reer as a performer to the send gra, when, riddled wh anxiety, she sang a dreil song as part of a holiday pageant. Shortly afterward, a schoolmate’s parent advertised a workshop to teach children how to dn for TV and movi, and Stewart surprised her mother by askg to sign up.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="2by0nj"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="d9h9zl"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">The Stewarts were a crew-oriented fay, she told me, and playg stage mom on someone else’s set me wh some embarrassment for her mother. “I thk when I prented her wh this she was, like, ‘Sh, I’ve told her she n do anythg she wants, now I have to drive her to the fuckg dns.’ ” Stewart tried out for a number of mercials, but the artifice of advertisg didn’t e naturally to her. “I was so bad at dng for mercials—like ‘Try the soda pop,’ or whatever,” she told me. But, when she was about ten, she got the part of Patricia Clarkson’s tomboy dghter the die drama “The Safety of Objects.” A year later, David Fcher st her as Jodie Foster’s tomboy dghter his thriller “Panic Room.”</p><p class="paywall">The movie took several months to shoot, much of which Foster and Stewart spent a small room together. Foster, who began actg as a toddler and was famo by the time she was fourteen, told me, of her -star, “I n’t say she’s my doppelgänger, but I do feel like, when she was ltle, I felt everythg that she was feelg, and procsed thgs the same way.” In Fcher’s film, Foster plays a recently divorced mom re-startg her life an Upper Wt Si town hoe that is soon vad by a dopey rich kid and his partners, who are tryg to fd a hidn stash of money. Stewart, zoomg down hallways on a soter, wearg a Sid Vic T-shirt and a thumb rg, is a figure of loyalty a femized opposn. Even then, Foster told me, Stewart was an unual performer: “She shows onscreen how she stggl wh monstratg emotn.”</p><p class="paywall">“He’s ma a move,” Stewart said, referrg to the golfer her spot. We walked to the shady rner, which was ltered wh cigarette butts spe the flammabily of drought-stricken Los Angel. Stewart set down the basket of balls and selected a club. She hadn’t thought about “Panic Room” a while, she said, teeg up for a drive. What she remembers om her early years of actg is a fear of lettg people down, which was often so tense that she me to the set feelg nseated, wh sweaty palms. She also remembers the satisfactn of pleasg grownups. “I hope this don’t sound totally arrogant, but adults the room were moved,” she said. “Compared to what was gog on the third gra, seemed really ol.”</p><p class="paywall">Apart om the elementary-school dn class, Stewart never studied actg. For a long time, she rarely rehearsed, or even practiced her parts ont of a mirror. She preferred to learn her l on set, right before filmg, so that would seem, on mera, as if they had jt occurred to her. The Method, an approach to actg which one draws on personal memory, stck her as an alienatg prospect. But her foc on real feelg, rather than the outward exprsn of , do have some kship wh that technique. “Maybe I’m extremely Method,” she acknowledged, “bee is me, and there’s no separatn, and I believe so fully when ’s good.”</p><p class="paywall">“She has an unrealistilly high bar for her own thenticy,” Jse Eisenberg told me. Eisenberg -starred wh Stewart “Adventureland,” when she was seventeen and he was twenty-four. Later, they appeared together the actn edy “Amerin Ultra” and the Woody Allen film “Café Society”; for a moment, they seemed like the lennial answer to Tracy and Hepburn. “She once lled ‘Cut’ the middle of a take and said, ‘I’m sorry, I was lyg to you,’ ” Eisenberg relled. When they filmed “Adventureland,” a dramedy about llege kids workg at an amement park durg summer vatn, Stewart had not yet been st “Twilight,” but Eisenberg felt distctly that he was workg wh a movie star. “I don’t unrstand how to articulate that,” he said. “Which is why we have the words ‘movie star.’ But: an enigmatic qualy, mixed wh a naturalism, mixed wh an emotnal pth.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">While they were filmg, Ptsburgh, Cathere Hardwicke, the director who had been hired to adapt “Twilight,” flew there to dn Stewart for the role of Bella Swan, the girl who falls love wh a tortured vampire named Edward Cullen. Hardwicke had seen Stewart an early cut of “Into the Wild,” about a young man who leav society behd and ends up dyg the Alaskan wilrns. Stewart plays a girl who falls for him along the way; one scene, he do s-ups, obliv, as she gaz at him wh exasperatn and sire. Hardwicke saw her the kd of longg she need for Bella. She brought a young actor, Jackson Rathbone, wh her to Ptsburgh, and had him and Stewart rehearse scen a hotel room and improvise a park. “At the end of , I was jt nvced,” Hardwicke said. “She’s Bella. She’s got to be Bella, bee she keeps so ground and so real.” She add, “I built the whole film around her.”</p><le-embed name="feature-flt" attrs="[object Object]" childTyp="image" ntentType="llout:feature-flt"><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="Close up of Kristen Stewart's face. She has msy bleached hair and is lookg away om the mera." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Of actg, Stewart said, “It is me, and there’s no separatn, and I believe so fully when ’s good.”</span></div></figure></le-embed><p class="paywall">One day, Hardwicke said, Stewart “jt kd of mentned that she was raised wh wolv, real wolv—that the fay took re of wolv.” (They were actually wolf hybrids, as Stewart’s mom, Jul, told <em>Us Weekly</em> 2013, after a neighbor acced her of harborg wolv on her property.) Of the director, Stewart said, “I jt thought she was—she felt <em>crazy</em>.” Stewart had seen Hardwicke’s teen drama “Thirteen,” which cleared her bar for thenticy. “She was kd of the perfect person to do a young-adult novel that had the dark romantic elements. She had this childlike openns and teen-age triggers, and her whole sensibily was that the movie was gog to feel horny and overnfint.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="5xphwa"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">To st Edward, Hardwicke had actors e to her hoe Los Angel to read wh Stewart and make out. “It was so clear who worked,” Stewart said, grng. “I was lerally jt, like . . .” She mimicked a swoon, droppg her golf club at the memory of Robert Pattson, the Brish actor who beme her -star and, for several years, her boyiend. Pattson, she said, had an “tellectual approach that was bed wh ‘I don’t give a fuck about this, but I’m gog to make this sg.’ And I was, like, ‘Ugh, <em>same</em>.’ ” She picked up her club and sed. “And, whatever, we were young and stupid and, not to say that we ma so much better, but that’s what need, and that’s what anybody playg those parts need to feel.”</p><p class="paywall">Acrdg to Hardwicke, Summ Entertament, the stud that produced “Twilight,” thought that the movie was parable sle to “The Sisterhood of the Travelg Pants,” a 2005 teen movie that ma about forty ln dollars at the box office. “Twilight” ma nearly that much on s first day, and the anchise went on to earn more than three billn dollars worldwi. Although the books are ostensibly pro-abstence—their thor, Stephenie Meyer, is a vout Mormon—Stewart approached the film’s make-out scen as though she were the one gog for the kill. Bella driv an old pickup tck and wears legggs to the prom. Edward, who reads mds, nnot perate hers. “She nfounds all!” another vampire exclaims.</p><p class="paywall">Stewart had to rece such l as “There was a part of him, and I didn’t know how domant that part might be, that thirsted for my blood,” and “Hello, biceps!” She and her stmat had to answer an endls barrage of qutns om reporters and Comic-Con atten about what was like to kiss one another or to act out some of the anchise’s weirr plot twists, such as when Bella giv birth to a half-human, half-vampire who bonds wh Jab, the blue-llar werewolf played by Taylor Ltner.</p><p class="paywall">“It was very naïve, the bt way,” Stewart told me. She had spent her adolcence beg tutored durg film shoots; “Twilight” was llege for her. It also gave her a public scrim that she found eful. “Like, how fun for people to thk they know you,” she said, sg slyly. “Did you thk I was gog to do ‘Twilight’ forever? Is that how you saw me? If that’s how you saw me, then you really set me up for succs, bee I n do way more than that.”</p><p class="paywall">Stewart shot a handful of smaller films between “Twilight” stallments. Then, around the time that filmg wrapped on the fifth and fal part, she was st as the lead “Snow Whe and the Huntsman,” which execs envisned as the start of a major anchise. A few weeks after s release, <em>Us Weekly</em> published photographs of Stewart makg out wh the movie’s married, forty-one-year-old director, Rupert Sanrs. Although the film ma about four hundred ln dollars, a planned sequel was reworked as a spoff, wh different actrs. “The work, to me, genuely was ignored a really sort of ivolo, silly, petty way for a group of adult people who were supposed to be nng studs and makg films,” Stewart said later.</p><p class="paywall">For the next several years, Stewart ma maly pennt movi—three or four of them nearly every year. She was “prifully reckls” choosg rol, she told me. “If there was one scene a script that I really wanted to do, and I hated the rt of , I would still do ,” she said. She would thk that the movie might not turn out so bad; she would often be wrong. She recently told an terviewer that she had “probably ma five really good films” a reer of about fifty so far. “There are movi that I look at, retrospect, and I thk, Valiant effort, sure, but we jumped the gun,” she told me. When a productn did not meet her expectatns, she would ocsnally vent to her makp artist, whom she has worked wh sce her teens. “There are tim,” Stewart said, “when I will lerally go over to her and be, like, ‘What the fuck are we dog wh our liv? We need to get out of here. I’m gog to ll a bomb threat.’ ” She add, “It really sucks to be on a movie set that’s clearly not nailg , but I’m really ed to . You get better at crossword puzzl.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p class="paywall">The bt movi mostly told stori of ordary liv. In “Still Alice,” Stewart plays the dghter of a profsor wh Alzheimer’s (Julianne Moore, who won an Osr for her performance). Stewart giv the character an unflchg steads, refg to turn away embarrassment or change her tone of voice as her mother’s gnn cl. In Kelly Reichardt’s anthology film “Certa Women,” Stewart is a moy Montana lawyer who flects an unwanted iendship whout words. In sweet but slowly vastatg two-hand scen, she wears the kd but ozen exprsn of someone who don’t want to acknowledge another person’s vulnerabily. Reichardt was stck by the fact that Stewart wanted to e to Montana to play a supportg role her quiet ensemble movie. “My take was she was out lookg for experienc,” she said. “Maybe once you’ve done your early stuff and you’ve h already, you’re kd of ee, and you do what you want.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="7wsj8"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="awubbv"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">Stewart told me that she n now talk to a director for a few moments, even one whose films she admir, and know that won’t work out. She looks for filmmakers wh a sensibily that is “spirual, unarticulated, emotnal,” she said, addg, “There are certa directors that feel otherworldly to me.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Last year, the sixty-six-year-old French director Olivier Assayas gave a speech lled “Cema the Prent Tense,” which he addrsed, among other thgs, the state of Hollywood. “I have practilly nothg posive to say about ,” he clared, “except that this dtry’s prospery and new modali do not light me, they ighten or even repulse me.” Assayas lamented, particular, “the nfistn of screens the service of (mostly Disney-stud) anchis, whose hegemony now seems absolute.”</p><p class="paywall">The quasi-femism of a “Wonr Woman” or a “Black Widow” notwhstandg, the tentpole anchis of Hollywood have been pecially dismal for female actors. While Stewart was fishg the “Twilight” seri, the French actrs Juliette Boche told Assayas that she wanted to work wh him. In rponse, he wrote “Clouds of Sils Maria,” an English-language film set Swzerland that n be seen, part, as a crique of the domant machery of ntemporary movi, which the greatt actors of our time are subjected to the digni of the Marvel Cematic Universe and dienc watch mor variatns on the same six or seven characters every three or four years until we die. Boche plays a French film star, Maria, who has been st a play oppose a Hollywood génue named Jo-Ann, whose reer (which clus a starrg role a Hollywood anchise) and bsh wh sndal (a flg while a highly publicized relatnship) bear a strikg remblance to those of Kristen Stewart.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image 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7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Assayas offered Stewart the role of Jo-Ann, but she told him that she would rather play Maria’s assistant, a young woman named Val, who talks Maria through her anxieti and, one scene, fends the rrigible Jo-Ann, who was ultimately played by Chloë Grace Moretz. “She’s not pletely antiseptic like the rt of Hollywood,” Val says. “She’s brave enough to be herself. At her age, I thk that’s pretty fuckg ol.”</p><p class="paywall">“I thk Kristen had fun jt toyg wh her own fame and her own relatnship wh that tabloid stuff,” Assayas told me, on a vio ll om a set Paris, his hair mpled by a pair of headphon. He was shootg a TV adaptatn of his 1996 film “Irma Vep.” (Stewart has a small part the seri.) Playg Val, he said, gave Stewart “a chance to turn a new leaf and start om somewhere else. Somewhere else beg herself.” Boche told me that she was stck by Stewart’s openns, and also by “her pacy of learng l a mute.” She add, “As for me, tak ag—’s like I need to go over and over and over so gets to my body. As for her, she jt and she has her. Also, was her language, so she felt fortable changg and makg hers, like a glove for her soul.”</p><p class="paywall">For her performance, Stewart won a César, the French equivalent of an Osr. (She is the only Amerin woman to have done so.) The film was partly fanced by Chanel, and s release roughly cid wh the begng of Stewart’s own relatnship wh the fashn hoe, which has gone beyond the ual advertorial arrangements, at tim remblg the partnership that Audrey Hepburn once had wh Givenchy. (Karl Lagerfeld st Stewart as an actrs playg Co Chanel a short film he directed 2015, and the brand also ntributed stum to “Spencer.”) “There’s an elevated ambn to wantg to work wh them,” Stewart told me, speakg of Chanel. “You’re, like, ‘Oh, so that’s the bt one? Cool, I gus I’ll do that.’ When I was younger, I jt wanted to be a wner.”</p><p class="paywall">After “Sils Maria,” Assayas wrote “Personal Shopper,” which centers on another assistant, Mreen, whose viss to the Chanel showroom, on behalf of the mol who employs her, bee an element of the plot. The movie is part ghost story and part murr mystery; the role of Mreen seems wrten for Stewart, though Assayas told me that, if he wrote for her, he did so subnscly. The exquise drs that Mreen tri on the urse of her job—her hair unkempt, her face whout makp—do nothg to hi the grief she holds her body. Drivg Paris on a motor soter, weavg through traffic, Mreen mumbl to herself, trapped recursive thoughts about someone who is no longer there. Rellg an image of a bloodied rpse while on a vio ll wh her boyiend, she shudrs and half bs her ey, as if she uld physilly shed the memory. Some actors, tasked wh the portrayal of trmatic enunters amid personal loss, might tend toward sobbg or hyperventilatn. Stewart shows a person whose md is operatg on multiple tracks; ’s a mmerizg stggle, the visual renrg of a divid telligence.</p><p class="paywall">“I felt that I was directg the film om the outsi and she was directg om the si,” Assayas told me. The movie is full of long tak which Stewart dictat the pace of the actn, he noted. “She appropriated the character,” he went on, “and put herself a suatn where the visible, or the magic of cema, or the world around her, be natural.”</p><p class="has-dropp has-dropp__lead-standard-headg paywall">When Stewart portrayed the actrs Jean Seberg, the 2019 b-pic “Seberg,” she tried to get some of the puffs that Seberg, a heavy drker, had her face. To get the young Joan Jett’s nce, “The Runaways,” she listened to letters on tape which Jett rerd when she was thirteen. Playg Diana, one of the most documented women of her era, required preparatn on another level. Stewart worked wh a dialect ach for four months. “It’s such an all-enpassg, physil, head-to-toe experience soundg like that,” she told me. “It chang what you look like pletely.” She also studied endls photographs and vios of Diana. She relled a particular vio, of Diana on a boat, which she turns and lights up at the sight of her children, and another which she ems a strange and ngo lgh. Stewart noticed how unfortable Diana uld look when she was drsed up, “jt juttg out every way possible,” as Stewart put , trapped a tyranny of ridiculo hats. (Diana’s “human awkwardns and emotnal ntence showed her every gture,” the novelist Hilary Mantel once wrote.)</p><p class="paywall">Most of “Spencer” was shot stl Germany, early 2021, durg the bleak panmic wter. Stewart was expectg a big crew and the elaborate stagg of a historil drama, but she often worked near-solu, wh Larraín and Claire Mathon, the cematographer. Mathon shot on film, equently closp, and, to Stewart, felt as though the tr beme a “three-head animal,” whose movements were propelled by Larraín’s “fervent, sane, psychotic nfince.” Upon enterg the set, Larraín would tell Stewart to “hab the space,” an old mantra om his days the theatre. As he relled, Stewart would reply, “What the fuck do that mean?” But she rarely need him to articulate further, he said. Stewart, for her part, felt that Larraín had got si Diana’s head. “There were tim where he would repeat somethg, or say somethg that I was about to say, and he would channel Diana a way that was jt strikg,” she told me. “There were days on the movie where I was, like, ‘Do you want to wear the drs? Bee I’ll give to you.’ He don’t look right for the part, but he uld have played her.”</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-4 viewport-monor-anchor"></div><p class="paywall">As a child, the eighti, I had a set of Prcs Diana paper dolls that me wh a variety of accsori: weddg drs, sus, a ridg outf, babi. I thought of them while watchg the unexpected climax of “Spencer”: a wordls and thartic dance montage. Diana, ught between the end of her marriage and the life still to e, sps down stle halls and ns through garns, pivotg and glidg to Greenwood’s surgg sre, wearg inic outfs that reprent var stag of her life. For this sequence, Stewart did not prepare at all. In pre-productn, she said, she sometim asked Larraín what she would be wearg the scene, and whether there would be choreography. Every time, he would tell her, “Yeah . . . I don’t know.”</p><p class="paywall">Rather than shoot the sequence all at once, they filmed a piece of at the end of nearly every day. Stewart would put on a chiffon gown or a su; Larraín would pick a hallway or a ballroom for her to move , and play mic through a large speaker: LCD Soundsystem, or Bach, or Séad O’Connor, or Lnel Richie (a favore of Diana’s). “I don’t know how to move like Diana,” Stewart told me. “She was a dancer. I’m not a fuckg dancer.” And so there was always an element of disvery. “It was so unbridlg and so shockg at tim, and so emotnal,” Stewart said. “It’s like dog yoga and you sudnly stretch your hips a certa way and start cryg, and you’re, like, What is that?” What rulted is a scene that, for a few moments, giv you a glimpse of a person who was not allowed to exist.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">The Amy of Motn Picture Arts and Scienc lov a portrayal of a historil figure. In the past , has award Bt Actrs to Meryl Streep for playg Margaret Thatcher, to Olivia Colman for playg Queen Anne, and to Renée Zellweger for playg Judy Garland. “I’ve never been the nng, if you want to put like that,” Stewart told me. For each goln statuette, there is a get-to-know-you mpaign that, at tim, has all the glamour of a race for state senate. “I do not want to seem like an ass, but ’s so embarrassg and so tirg,” she said. “It is highly polil. You have to go talk to people. You feel like you’re a diplomat.”</p><p class="paywall">So was that, a few hours after golf, Stewart arrived for a post-screeng Q. & A. wh members of the Amy. She had been iffed and styled a blazer and heels. (Before reachg the stage, she replaced the heels wh sneakers.) The screeng was held at the headquarters of the Directors Guild of Ameri, where the lobby is rated wh black-and-whe photographs of famo directors on set. Afterward, a wood-panelled receptn room outfted wh gilt chairs and fairy lights, the dience gathered for a Brish-themed receptn: cucumber sandwich, shepherd’s pie, fish and chips. The mood was that of a weddg at which distant relativ awa their turn to ngratulate the bri.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Snake talks to Adam about Eve the Garn of En." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“On the pl si, you get to blame her for everythg forever.”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Ey Flake</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to 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18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">I was cnchg through the nfectnery pearls that rated a osted vanilla cupke when a man wh whe hair stck up a nversatn. His name was Andrzej Bartkowiak. (“You’ve seen my work,” Bartkowiak, a cematographer, said. He was right.) Bartkowiak had a few mor issu wh “Spencer,” he told me, but not wh Stewart’s performance, which he scribed as “ptivatg” and “flawls.” This seemed like a good sign: spe the Amy’s efforts to diversify recent years, men of Bartkowiak’s approximate generatn and crentials rema an important mographic. Before leavg, he went over to share the thoughts person, and I watched Stewart accept his ngratulatns.</p><p class="paywall">Stewart has already filmed “Crim of the Future,” wh David Cronenberg, and she’s about to shoot “Love Me,” which will -star Steven Yn. She scrib the latter as a love story between a satelle and a buoy; has somethg to do wh gettg puters to love one another, she said, and the mach “sort of morphg and out of every genr and race, and, like, there’s no orientatn, there’s jt humany.” Stewart is also workg on her début feature as a director, an adaptatn of “The Chronology of Water,” a memoir by Lidia Ynavch.</p><p class="paywall">The book me to Stewart as an algorhmilly generated remendatn on her Amazon Kdle. In , she saw somethg that she’d never seen onscreen. “It kd of celebrat a certa taboo,” she told me, “that shame fds self sexually women. The ways that she acknowledg beg embarrassed, and self-hatg, but that also really turns her on, is one of the really difficult and plited relatnships we have wh beg women this body a fully patriarchal society.” The memoir follows Ynavch through a stillbirth, multiple hbands, and the pursu of sexual experience wh lovers male and female; has meos om lerary mentors cludg Ken Key, Kathy Acker, and Lynne Tillman. The memoir was a word-of-mouth h, and Ynavch told me that there were others who wanted the film rights. Stewart, she said, won her over wh a long letter “wrten the language of a visnary.” Ynavch shared wh me a sgle, out-of-ntext le: “And to those who dwell siarly this fuck me, fuck realm of cripplg self doubt and fortified albe false EGO, be proud bee today, ‘fuck ’ won.”</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="2zanff"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">The memoir’s prose is visceral, and s stcture is cidly unchronologil; do not seem, at first glance, easily adaptable, and Stewart has been toilg at the script for years. At one pot, she spent three weeks livg a van outsi Ynavch’s hoe, Oregon. Stewart’s fiancée, Meyer, whose screenwrg creds clu an adaptatn of the young-adult novel “Moxie,” which me out on Netflix earlier this year, has read drafts. “I’ve been wh people where work isn’t at the foreont of the thg and therefore you don’t do as much,” Stewart, who seems to work nstantly, told me. “That’s not good for me. I don’t like that. When you fd somebody that, every aspect of your life—well, I gus I don’t have many aspects. I want to make movi. That’s primarily what I want to work on, and we share that, luckily.”</p><p class="paywall">On a sunny afternoon October, I went to see Stewart at an Italian rtrant Los Feliz. In the weeks sce I’d last seen her, she’d travelled to Paris, for Fashn Week, and to London, for the Brish première of “Spencer.” She was startg to get a ltle tired of talkg about the movie, she nfsed. She sound happy to be back L.A.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-5 viewport-monor-anchor"></div><p class="paywall">I found her stg the rner of a panmic-era outdoor seatg area, where plywood walls shield her om the street. She had a MacBook open and was chattg wh a close iend, who briskly exced himself even as I apologized for beg early. Stewart quickly snned her surroundgs—a large man g rapidly down the siwalk momentarily startled her—before settlg to talk. Not until we’d left did she mentn that a photographer had been lurkg nearby the whole time. (The <em>Daily Mail</em>, a few hours later: “Kristen Stewart nails an effortlsly ol look jeans while rryg a backpack over her shoulr as she leav lunch Los Angel.”)</p><p class="paywall">In addn to “The Chronology of Water,” Stewart is wrg a TV seri wh Meyer and velopg a gay ghost-huntg realy show wh a iend, which she has scribed to me as “a paranormal romp a queer space,” wh elevated athetics. “Gay people love pretty thgs,” she add. “So we are aimg for a richns.” She showed me a uple of pch cks on her laptop. In 2017, Stewart directed a short film, lled “Come Swim,” which has the moody atmospherics of a mic vio: ra on wdowpan, saturated lor rrectn, anx smokg. The look book for “The Chronology of Water” had imag of blood, swimmg pools, grim neteen-seventi livg rooms, the grassy bed of the Ichetucknee River, Florida, a childhood photograph of Ynavch and her sister. “I want to fuck wh a spl screen,” Stewart said, studyg my reactn as I scrolled through the imag. “Like, genuely shredd memori. I want seasons. I want the movie to have spe.”</p><p class="paywall">Stewart will pch the movie to studs wh the lead role already st. She had been watchg dozens of dn vios for weeks, and had narrowed her choic down to four women. In the g days, she would workshop the role wh them, as Hardwicke had done wh her for “Twilight.” She need someone wh stama, she said, bee the movie would be shot the urse of several months. She hoped to fd someone faiar wh the wrers who appear the book—an actrs her early thirti, preferably, who don’t look too old for the scen when the character is her twenti or too young for those set her forti. Someone who is not yet wildly famo.</p><p class="paywall">“I see this as beg one of the greatt rol for a woman,” Stewart said. “Like, someone uld be so good at , you know?” Whenever she talked about directg, somethg her manner changed—a hungrier self emerged, a si of her enlivened by the prospect of beg unfed, and ncerned wh makg the right imprsn. She had sent the script to prev llaborators whom she admired, cludg Julianne Moore. “I want to make somethg that’s gonna, like, stk and be horribly embarrassg but also make you fuckg wet, and jt be really hont,” she said. “Do you know what I mean? I want to do a g-of-age movie that actually nsirs young women. They’ve never fuckg done .”</p><p class="paywall">The scene that the actrs read for their dns was a nversatn wh Ken Key, who offers the lead character some of the first enuragement she receiv as a wrer. Stewart watched tently, her md not yet ma up. “She would be such a fuckg iend this—like, I n tst her,” she said, of one actrs. Of another: “She feels —’s real for her.” Still, she was wag for a five sign. “Someone is gog to do the right thg and is gog to get the part  the moment that they get ,” she said. “I’m gonna be, like, ‘And there the fuck you are! O.K., great. Let’s go.’ But somebody needs to take .”</p><p class="paywall">I asked Stewart if she was lookg forward to beg charge, but she said that, for her, directg would be a kd of lettg go. “I nnot wa to share the weight of this,” she told me. Usually, she se as her rponsibily to take on all the feelg of a movie and project to the world. “I’ll be fully feelg all the thgs wh the person, but I have to give to someone, and I’ve never done that,” she said. “I’ve always been, like, ‘I got , I got , I got , I n do this.’ It’s gog to be tertg to let someone else have their own experience wh , and fall more love wh that than what I uld have ever dreamed of.” ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="2ya4pw"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div 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href=">Nollywood: The Makg of a Film Empire</a>.”</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/actrs" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Actrs</span></a><a href="/tag/kristen-stewart" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ 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class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Daily Cartoon: Monday, July 10th" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">“You there, boy, what new text-based social-media app is today?”</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Adam Sacks</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff kHfIxy summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" 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media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Cartoons About Therapy om the Past Century (Well, Almost)" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Selectns om the magaze’s ep archive of drawn nros.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>The New Yorker</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff kHfIxy summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div 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class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Therapy Issue</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Therapy Issue" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">The talkg cure and other pursus of feelg better.</div></div></div><div class="SummaryItemWrapper-iwvBff kHfIxy summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="What to Do wh Climate Emotns" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Annals of a Warmg Pla</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">What to Do wh Climate Emotns</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="What to Do wh Climate Emotns" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">If the goal is to sure that the pla remas habable, what is the right gree of panic, and how do you bear ?</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss 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