Here is your first look at Natalie Portman’s upcoming performance as Jackie Kennedy. The trailer largely consists of lingering, vaguely unnerving shots of the actress as the iconic first lady paired with Richard Burton singing the finale to the musical Camelot. Lay it on me, Hollywood.
It might seem like the Kennedys and Jackie in particular have been so thoroughly covered in all forms of media that no project could possibly deliver a new take. (Even Katie Holmes has taken a turn as Jackie.) But Vanity Fair does make the movie—which follows Kennedy in the days after her husband was assassinated—sound interesting:
Larraín’s film, shot in spare 16-mm, is looping and dizzy, sad and intimate. Noah Oppenheim’s script, mulling faith and fame and the death of an American fantasy, has a lamenting poetry to it. Mica Levi’s score—her second feature film after her eerie, otherworldly work in Under the Skin—is once again strange and a little frightening, sudden swells of plaintive strings mixing discordantly, but effectively, with all the 1960s period detail. Jackie is an odd, artful psychological study, one that blends stony seriousness with whispers of camp.
And yet still no movie about Kick.