Kristen Stewart leads an impressive cast in this true story of Jean Seberg, the hugely popular French New Wave actress and Hollywood star of films such as Paint Your Wagon and Airport. This film focusses on a specific part of Seberg’s life, the late 1960s where she was targeted by the American government as part of the FBI COINTELPRO investigation.
Seberg review, image courtesy of LFF
Stewart headlines as Seberg, a hugely impressive turn who meet in the openings scenes just as she’s about to board a plane to Los Angeles for a big audition in a huge Hollywood movie. On the plane she meets activist Hakim Jamal (Anthony Mackie), who she immediately strikes up a relationship with, both in terms of his ideas and political beliefs, but also a romantic one. Jamal, however, we soon learn is being pursued by the FBI, his every move monitored and ever conversation recorded. The two agents assigned to the case are Carl Kowalski (Vince Vaughn) and newbie to the team and hot-shot sound man Jack Solomon (Jack O’Connell). When it becomes apparent of Seberg’s new relationship with Jamal, and her subsequent donations to his cause, the FBI begin to tighten their invisible hold over her, including making both her and Jamal’s loved ones aware of their clandestine affair.
If you’re unfamiliar with Seberg’s story, as I wasn’t, then Benedict Andrews’ film, co-written by Joe Shrapnel and Anna Waterhouse is both shocking and deeply upsetting in places. The politics are as relevant now as ever, and the intrusion into Seberg’s life can also be reflected in today’s celebrity-focused world with the arrival of social media and this horrible world of phone-tapping and cloud hacks. That’s what makes it all so engrossing.
It’s heartbreaking and sometimes a little harrowing to watch, mostly because of Stewart’s brilliant central performance – easily amongst her best – as the tortured soul of Seberg. The glittering bright lights and glamour start to fade from the screen as the narrative unfolds, both in the look of the piece – a credit to Andrews’ staging and the superb, shifting-look by cinematographer Rachel Morrison (Mudbound, Black Panther) – and also the turn by Stewart as her character starts to mentally unravel.
Jack O’Connell is also impressive as the FBI agent with a conscience, one trying to balance a heavy workload which demands that he works all hours having relocated to the West Coast. He has a wife at home who is also trying to forge a career, studying to become a doctor, despite having a number FBI-wives telling her that once she has children, any chance of a career goes with it.
There’s a great cast, and some members are utilised better than others. It is a period piece, but one that remains relevant with it’s many social, moral and political themes running throughout. There is a lot to take away and a lot to think about afterward, a genuine conversation-started, and completely worth watching even if you were previously aware of the story of one of the screen greats of this period.
Utterly absorbing and sometimes upsetting with some truly compelling performances, particularly its lead. A brilliant, ambitious second feature from celebrated director Andrews following his 2016 debut, Una. See it.
Seberg is awaiting a release.
