A Hollywood star (that is Portman’s Elizabeth) is on her way for an extended visit to research Gracie’s life for an upcoming indie in which she is the star.
And if this weren’t enough, the family is still receiving hate-mail packages at their quaint Savannah home filled with feces.It’s quite hilarious that the first interaction between the two women happens when Elizabeth hands off one such package to Gracie, having just arrived at their home and found the box at their doorstep.
Perhaps because of this bizarre ice-breaker, the two women start off tentatively. Always seeming in an otherworldly haze, Gracie wonders if Elizabeth is genuine in her intentions, or if the process is even going to help her prep for the role.Elizabeth on the other hand carries herself with a calculated sense of poise and modesty at first, trying to ease the family into her process, joining them over dinners and shopping trips to earn their trust.
But as the two women get tangled up and intertwined in eerie ways, they realize they are depositing more of themselves into one another than they have ever realized.The abovementioned duality, amplified by an alarming score of piano keys and sixteenth notes, will naturally bring to mind suspenseful Hitchcockian thrillers, as well as Ingmar Bergman’s “Persona,” perhaps the ultimate film on the spiritual junction of two women with their iconic faces forever etched in our black-and-white subconscious.
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