“I am the forever-seeking,” says the writer, a self-definition borne out by her frequent relocation once it became clear that freedom to be herself would be difficult in her native America. Initially, I flinched at the filmmaker abruptly inserting herself into the narrative - so often a red flag in documentary - though Vitija’s voice remains a useful guide as she tracks down women that Highsmith loved and places that helped shape her restless life. But it was only after reading her diaries that she fell in love with Highsmith the complicated woman. Vitija was drawn first to the author’s novels, with their cinematic plots that have made them fertile sources for screen adaptation. This gives the illusion of Highsmith speaking to us directly, making the film feel remarkably personal. Revealing excerpts of that prose - from her fiction, as well as diary and notebook entries, all written in a tersely descriptive style that marks it as the work of the same hand - are read with cool authority by Gwendoline Christie.
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