Spencer (2021)

It will be a big surprise (and somewhat of an outrage) if Pablo Larrain’s latest ends awards season with nothing major of note to his name. Following his magnificent Jackie (2016) Larrain again chooses to focus on a historically important female figure in the limelight; this time concentrating on Princess Diana nee Spencer. Just like in Jackie, Larrain goads a stunning performance from his leading lady, Natalie Portman being Oscar nominated for Jackie, and surely the same will be afforded to Kristin Stewart here. Stewart’s lack of Britishness isn’t remotely an issue, there wasn’t a single moment during the film that I felt I was watching a portrayal of Diana, and that’s a credit to the make up and costume but mainly due to Stewart’s phenomenal performance. Larrain’s film matches her efforts, by choosing to anchor the film over three days in December 1991, namely Christmas Eve, Christmas Day, and Boxing Day. For the second time in a week I had the pleasure of enjoying a terrific cameo from Sean Harris, playing the head chef at Sandringham, where the Royals are celebrating Christmas. He’s one of the very few people who understand the turmoil Diana is suffering from; she tells herself early in the film “It’s three days”, as we begin to untangle the mess of her marriage to Prince Charles, and how straining it is to have to be around the Royal family at this particular time. The film is crisply shot by Claire Mathon, opening with a beautiful shot of a field where in the distance we can see vehicles driving. The title of the film, presented a few minutes later once Diana has finally arrived at Sandringham (after the Queen, a lateness which is simply not afforded) is presented over a truly awesome birds eye tracking shot of Sandringham. Mathon’s poignant cinematography is complemented by Johnny Greenwood’s fantastic score; airing string sections evoking a hint of menace to the proceedings, in a similar vein to that of his There Will Be Blood (2007) score. Sally Hawkins also provides ample support as Diana’s maid Maggie, another of Diana’s sympathisers. Spencer is wrapped together as tightly as Diana herself; your heart is in your mouth for much of the film as you worry what’s coming next. Larrain has once again proved himself a master of the non-biopic; in focusing on a short space of time he manages to convey everything about his central character, helped by a terrifically sharp script. Spencer, you’ll be unsurprised to hear, is one of 2021's best, and it will be a royal travesty if it walks away from the academy awards empty handed next year. (Spoiler, it did, and it was). 8.4/10