Director Olivier Assayas’s latest features the now-requisite fine Kristen Stewart performance, typically absorbing Assayas mise-en-scène, and a way more explicit representation of the supernatural than I had expected, even from early on. Of course it defies genre — it’s not primarily a horror movie or a suspense thriller but simply a character study, with the delicacy that term typically implies but also with a freakishness it doesn’t usually portend. I’ll cheerfully admit that the story is underwritten, particularly the half-baked police procedural that threatens to swamp the third act (Assayas backs away from it before it becomes too, too much) but the sleepy nightmarishness of it all appeals to me. Stewart, too, seems forever in a somnolent state of dressing and undressing, her vulnerability on display; she’s lost in the world, laden with sadness, weary beyond her years. She gets at something about grief, yes, but also mortality — the pale fragility of the human body and perhaps, though she is loath to concede it, the delicate impermanence of the soul. Spooky, for real.