Five roles that prepared Kristen Stewart for Love Lies Bleeding

The former Twilight star is excellent in this romantic thriller from Rose Glass.

All roads lead to Rome they say. In the case of Kristen Stewartit seems that all roads lead to Love Lies Bleeding. Released this Wednesday, June 12 in cinemas, the thirty-four-year-old actress establishes herself as a lesbian icon worthy of the most beautiful nugget niches of pop culture. In the second feature of Rose Glassromantic thriller which she co-stars with Katy O'Brian (impressive, too), she plays Lou, caught between the gloom of a stamped sports hall eightiesa castaneur-in-law and a handful of daddy issues well rooted.

However, before Love Lies Bleeding, Kristen Stewart, it's almost twenty-five years of career in Hollywood, and a sharp turn towards independent cinema. Return (non-exhaustive) on a career and a myriad of characters, which perhaps allow us to understand how Lou became “Kristen Stewart’s greatest role”.

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Sarah Altman in Panic Room (David Fincher, 2002)

After two forgettable feature films, Kristen Stewart was twelve years old when she made a sensational entrance onto the Hollywood scene with Panic Room. For this redemption thriller, David Fincherwhich attempts to redeem the critical fiasco of Fight Club (1999), is ready to use resources that will benefit the budding actress. Five-star cast, check. In this suffocating closed door, it is Jodie Fosterleading lady of Hollywood, who stands up to protect her daughter (Kristen Stewart) from intruders played by Forest Whitaker, Jared Leto And Dwight Yoakam. Mature content, check. The film, thought “R” by Fincher despite the producers' pleas, aims to be as violently realistic as possible, and young Kristen is not spared. Performance, check. Panic Room, it's a waking nightmare, in real time and in the dark. Enough to impress any young actor. However, Kristen Stewart did not let herself be daunted and delivered a performance of admirable endurance, which set fundamental milestones for her career.

Bella Swan in Twilight, chapter I: Fascination (Catherine Hardwicke, 2009)

“Blue”this is perhaps what we remember most from the first Twilight, in addition to the performance of its main actress, whose modest expressions we love to imitate. More independent of the five parts that make up the franchise mixing romance, blood and fantastic bestiary, Fascination is a staple on Kristen Stewart's resume. Bella Swan, a morose young girl who has difficulty bonding with her father (already!), meets Robert Pattinson in Edward, a handsome, pale-faced (but not sick) who hides a secret summed up by two pairs of very sharp canines and an irrepressible thirst for blood. In short, an undead teenager, more vampire than vampires, begins to mingle with them, in a sanitized universe and with a sense of the fantastic that we will find later in the career of Kristen Stewart, and in particular in the incandescent Love Lies Bleeding, yet totally different. Sometimes you have to explore an angle to master its opposite.

Marylou in On the road (Walter Salles, 2012)

The same year as the last part of Twilightreleases the adaptation by Walter Salles of On the roadnovel by Jack Kerouacand sacrosanct reference of the Beat Generation. A monument of American culture which allows Kristen Stewart to break with the polite image of Stephenie Meyer. No more fuss, romance, vampires and werewolves. Like a middle finger to teen movies who made her, the actress plays Marylou, a young woman free in body and mind, at the end of a love triangle (again!), who sets out wholeheartedly in a quest for freedom alongside Sal (Sam Riley) and Dean (Garrett Hedlund). A role of a woman, mature, erotic, which seems to push the cursors of a persona already outlined in Into the wild (Sean Penn) in 2007. The icing on the cake, On the road opens the doors to him select of the Croisette by being selected in competition in Cannes.

Valentine in Sils Maria (Olivier Assayas, 2014)

A consecration film for Kristen Stewart, after being selected in competition at Cannes in 2014, it earned her the César for Best Supporting Actress the following year. She lends her features to Valentine, assistant to Maria Enders (Juliette Binoche), a renowned actress who, having passed the age of forty, is confronted with mourning, and sees a role as a young premiere pass under her nose. Resolutely feminine theatrical mise en abyss, Sils Maria questions the power of the look, the power of not looking, and desire; that of the director, but also that of a being, for his alter-ego. Stewart, Binoche and Chloe Grace Moretz form a trio of women who stand like mirrors in front of each other, and who, for once, constitute the three sides of the same coin.

Lady Di in Spencer (Pablo Larraín, 2021)

A style exercise that we didn't expect, Kristen Stewart slips into the skin of Princess Diana for an express biopic, focused on one weekend, and which divided critics. We can say what we want about the film, Kristen Stewart's performance remains extraordinary, in the most literal sense of the word. Spencer, it's two hours during which the actress truly comes out of herself. Two hours during which she fades, disembodied, giving way to the ghost of a universal icon, to the nostalgia of a figure pixelated by memories. By having been completely other in this film, she was able to be completely herself in Love Lies Bleeding. A game that all actors should enjoy: getting out of themselves to better return to it.

Love Lies Bleeding is currently available at the cinema.


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