The movie announces itself cryptically as 'a fable from a true tragedy'.
On a clear winter's day in 1991, Princess Diana - all coltish limbs, thick blonde hair and those unforgettable huge blue eyes - is driving her little convertible sports car through the Norfolk countryside to the Royal Family's Christmas gathering at Sandringham.
Unfortunately, and not a little symbolically, she has got herself lost along the way.

After fruitlessly consulting a map, she stops at a garage to ask the distinctly non-royal people there for help. 
'Excuse me,' she says. 'I'm looking for somewhere. I have absolutely no idea where I am.'
And in that direct plea for human connection, says Kristen Stewart, whose portrayal of the late, much-loved princess in Pablo Larra_n's forthcoming film Spencer is already generating an Oscar buzz, you have in a nutshell the power of Diana's appeal. 





Kristen said she became 'obsessed' with watching The Crown to immerse herself into Princess Diana's (pictured, in 1989) identity

'She was touchable,' Kristen says.

'I think that even when she looked her most beautiful and her most substantial, she also felt like she could kick her shoes off and walk outside with you and ask you how you are and touch your face. And you would feel that honesty from her.
'But ironically, she was also the most unknowable person, and at least over the three days we're imagining in the film she was the most isolated human you can think of.'
The film doesn't claim to be historical reportage, but an imagined account of a three-day Christmas holiday at Sandringham during which Diana finally accepts that her ten-year marriage to Charles has become impossible to maintain. 





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It's a compelling mixture of royal drama _ la The Crown, a touch of menace (who was it, for instance, who left a biography of another spurned royal wife, the beheaded Anne Boleyn, in Diana's bedroom?), and moments of pure surrealism, as Diana's anguish and suffocation in the increasingly hostile environment of the Royal Family threaten to engulf her.
'But it doesn't go into any salacious details,' says Kristen, 31. 
'It's really just an imagining of a three-day period when it all became most heavy on her.

It's more about her internal experience than anything else.'




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Kristen (pictured) said her favourite scenes to shoot involved Diana losing herself in dancing 

For Chilean-born Pablo Larra_n, best known before this film for Jackie, the tale of another iconic woman, Jacqueline Kennedy, the decision to set Spencer over such a short period was a deliberate one. 
'I think it's interesting, the story you can tell, when you look at someone in a very specific moment in a crisis instead of going over a longer period of time in their life,' he says.

'Then you can get to know that person really well. And this was quite a crisis Diana was in.
'Hers was a fairytale that had captured the imagination of billions around the world, a woman who'd been chosen by a prince and would eventually become a queen and live happily forever.

I guess part of becoming an adult is the realisation life isn't like that. What we have instead is a princess who's going away from the idea of being a queen because she realises what she really wants is to be herself. 
'And it's beautiful to see that in a compressed amount of time and in one single space, in this castle really, although they just call Sandringham a house in England.

When you see Diana there, you have a character trapped in tradition and history. 
'She starts broken, becomes almost like a ghost for a while, and фильмы 2021 онлайн then she's back again and healed and ready to move on.'