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The reviews for the The Batman Sweatshirt Robert Pattinson Shirt in addition I really love this Pablo Larraín–directed reimagining of Princess Diana’s 1991 Christmas at Sandringham starring Kristen Stewart as Lady Di were, well, to put it mildly…mixed. But I wholeheartedly feel that Stewart’s halting, downcast-eyed, alternately frail and fearsome portrayal of Diana was the highlight of the film. The choice to mine queer subtext—which quickly turns to outright text—from Diana’s relationship with her dresser Maggie felt both fresh and vital, particularly given that the film’s star is soon set to marry a woman. And I’ve written about Spencer’s portrayal of Diana’s real-life eating disorder and how the film doesn’t shy away from making it aggressively and unflinchingly physical; when it comes to a disease that is experienced in the mind but plays out on the battleground of the body, sometimes a little physicality goes a long way. Stewart truly shines. —Emma Specter

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I only got around to watching The Lost Daughter a few weeks ago, but it totally blew me away—in no small part thanks to Maggie Gyllenhaal’s ingenious screenplay, which seamlessly adapted the The Batman Sweatshirt Robert Pattinson Shirt in addition I really love this complex structure of the Elena Ferrante novel for the screen in a way that was both gripping and packed a deep emotional punch. Given the film was snubbed in the best picture and best director categories, and I believe Maggie deserves to go home with at least one award for her masterful work, I’m rooting for her in the best adapted screenplay category. —Liam Hess If I had things my way, I’d be making the case for Renate Reinsve in the best actress category (or for Anders Danielsen Lie as this year’s best supporting actor). As things have shaken out, though—and because I can’t pick between this and Drive My Car for best international feature—I’m stumping for Eskil Vogt and director Joachim Trier’s screenplay for The Worst Person in the World. The film speaks with piercing insight to a distinctly modern (and totally privileged) predicament: The paralyzing freedom to decide who you love, and what you look like, and what, exactly, it is that you want to do with your life as a twenty-something. That general conceit isn’t new, of course; it’s not even unique within the category. (See: Alana Haim’s character in Licorice Pizza.) But to me, Vogt and Tier’s script felt both searching and precise, happy and sad, hopeful and existentially dark—and what more could you ask for from a film right now? —Marley Marius

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