Jackie
Director: Pablo Larrain

The subject presents a double challenge – to make a movie about the most famous First Lady in American history and, with the possible exception of Archduke Franz Ferdinand, the most famous assassination of the twentieth century. You cannot do one without the other. The  approach taken by Chilean director Pablo Larraín is oblique and clenched to the point of daring, and it will baffle far more than it will illuminate. Whether it can be called enjoyable or not, you would have to accept that Jackie is at least his own vision.
A film comprising nearly all aftermath, it begins on a wintry day in Hyannis Port at the end of 1963 when a newspaper journalist (Billy Crudup) calls at the house of grieving widow Jacqueline Kennedy (Natalie Portman). Before he has even crossed the threshold she sternly sets out the rules of their interview: this will be her version of what happened, not his. It is one of the oldest framing devices in cinema, the cat-and-mouse game between the reporter sniffing around the truth and the subject determined to throw him off the scent. She will not even let him mention the fact that she smokes.