. Jackson and her husband, the literary critic Stanley Hyman , are living in a creaky, old, ivy-covered house in Vermont. Stanley, a charismatic and lechy, is a lecturer at Bennington College, while the hermetic and brilliantly mercurial Jackson is beginning work on her second novel,, inspired by the recent disappearance of a female student on campus. Theirs is a toxic relationship, all acerbic quips and wicked wit, and yet they are devoted to one another.
So far, so close to the truth, but the film veers off into fiction when young newlyweds Fred and Rose appear on the scene. Fred, a bushy-tailed PhD graduate, will assist Stanley in his lecturing, while Rose, who is pretty and seemingly straightlaced in spite of her deep fascination for Shirley’s work, will study at the college.
and it was just kind of mind blowing. I was really curious to see how she made it, her process,” she tells AnOther. And what did she discover? “She’s kind of a magic person. Her way of filmmaking is all-encompassing, very spiritual and very esoteric.
They also worked hard to conjure two distinct universes: the one inside Shirley’s house, where most of the action takes place, and the town of Bennington beyond. Shirley and Stanley’s dwelling is always dimly lit, and brims with books and witchy symbology – a black cat, a caged yellow canary, a miniature replica of the Boy With Thorn statue – while the ever-sunny town and its squeaky clean inhabitants are somehow even more sinister.
During the course of our conversation, the filmmaker reveals several other tricks she had up her sleeve in the realisation of this mind-bending film and its many layers – the real, the imagined, the dreamt.
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