This Diana, portrayed by Kristen Stewart, is a woman in crisis; suffering from an eating disorder, dissected by the media, and a year away from divorcing the cheating father of her two children.
Amidst isolation and precautionary measures, this week's paired-up writers find momentary solace—if not true escape—in the worlds of confounded men trying to get away from it all.
Binoche performs this willful entrapment by playing Marie with a studied self-consciousness. The character is neither dense nor desperate, but she’s eager to please, alert to the things that Dan might find charming.
Akhavan is fascinated by the moment of seduction, like the precise tipping point when a playful kick turns into a nudging invitation. She is also interested in the moment when the spell breaks.
The meticulously detailed wasteland that Anderson has created is rendered with his typical craft and care . . . Yet in ethnically delineating its humans, the film sets up a curious, racially coded divide between dogs and the Japanese.