'Seberg': Film Review | Venice 2019

A fascinating historical footnote tracing the intersection between late-1960s Hollywood and iniquitous American government meddling is explored in director Benedict Andrews' involving second feature,. This sleek, pleasurably glossy thriller chronicles the FBI's sustained efforts to neutralize actress Jean Seberg as she became a supporter of the Black Panther Party and other civil rights groups. The script doesn't always avoid canned sloganeering, and the pacing could be tighter.

The script by Joe Shrapnel and Anna Waterhouse makes implicit points about the parallels between the period and contemporary America — in the strategic uses of fake news, NSA domestic surveillance programs and resurgent racial divides that never really went away. But more interesting is Andrews' knowing manipulation of the echoes of Seberg in Stewart, who also became famous at a young age and then set about proving herself as an actor of substance via consistently adventurous career choices.

Cinematographer Rachel Morrison shoots the principal Los Angeles action in a wash of sparkling California light, particularly in scenes around Seberg's stylish, glass-walled Coldwater Canyon home, with its Hockey-esque swimming pool — images that somehow suggest both the high visibility and the isolation of Hollywood fame.

Absolutely stunning. I can taste the Oscar nominations

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