For director Pablo Larrain, his latest film ‘Spencer’ is ultimately ‘a fairy tale that is broken by a woman that didn’t want to be there’ [EXCLUSIVE VIDEO INTERVIEW]

“This is the moment when she decides to recover her identity,” director Pablo Larraín reveals about his new film “Spencer,” which offers a glimpse into the mindset of a deeply unhappy Princess Diana, desperate to break free from her life as an outsider in the British royal family.

“She decides to get her name back. She decides to leave the family, because it’s a fairy tale that is broken by a woman that didn’t want to be there,” he explains. Watch our exclusive video interview with Larraín above.

SEE Kristen Stewart (‘Spencer’) would break 12-year Oscar curse

“Spencer” stars Kristen Stewart as Diana, who grapples with ending her loveless marriage to Prince Charles (Jack Farthing). It opens on a cold December morning in 1991 against the backdrop of the royal family’s upcoming Christmas festivities at the Queen’s estate in Sandringham. Similar in style to Larraín’s last Oscar-nominated semi-biographical film “Jackie” (2016), the film focuses on a transformative crossroads in Diana’s life, re-imagining what might have happened during the days leading up to her decision to break free from the family’s suffocating grasp.

After its world premiere in-competition at the 78th Venice International Film Festival on September 3, 2021, the film received raves from critics, with Oscar buzz building for Stewart’s compelling performance as the troubled princess, which takes center stage throughout the film, alongside a strong supporting cast including Timothy Spall, Sean Harris and Oscar nominee Sally Hawkins, all of whom play key member’s of the family’s household staff.

SEE The full ‘Spencer’ trailer ends with one killer line from Kristen Stewart’s Princess Diana

“Spencer” is introduced onscreen as “a fable from a true tragedy,” putting the audience on notice that the film is not a biopic about the people’s princess as such, but is instead a fictionalized rendering of a private moment in the life of a very public figure.

“This is a work of fiction,” Larraín declares. “A fable usually carries a moral idea, and I don’t know what that is in our movie, but I do know that we’re showing a woman that went through a very difficult process and eventually was able to walk out of there because of her strength and because of her power as a person, as a woman and as a mother,” he says.

The film has an austere, dream-like quality as it contemplates what Diana was feeling at the time she decided to end her marriage. It invites the audience into her state of mind and asks what might have ultimately pushed her into taking such a giant leap away from the royals. “We looked for a moment that could define her. It’s three days of her life, but it could help us understand, maybe, where was she and what happened to her,” Larraín says. “Any of us, I think, any person, any human, would be likely not only more interesting, but also more possible to understand and define when we are going through a crisis. The good times, they don’t really reveal a lot, I think. It’s when we are in trouble that things come up.”

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