“Who is Jean Seberg?” a reporter asks the eponymous movie star midway through “Seberg,” attempting to close a puffy promotional interview for “Paint Your Wagon” …
,” attempting to close a puffy promotional interview for “Paint Your Wagon” with some semblance of personal insight. She doesn’t get to answer, as Seberg’s publicist swiftly calls time on the question: “Let’s just keep it about the movie,” he instructs. It’s one of many moments in’ slick, diverting portrait in which Seberg is shown to be treated as a product, a pawn or a patsy, handled by men in their own best interests rather than hers.
Cut to 1968, where Seberg — now Paris-based and married to French novelist and filmmaker Romain Gary — is attempting a Hollywood comeback.
A fragile screen goddess in peril, then, her arc crossed with that of a government man undergoing a change of heart: It’s the stuff of perfectly engrossing fiction, yet hardly the most exciting way to frame a life with as many political and personal pressure points as Seberg’s short, doomed one.
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