Thank you, Que!
Shainberg and his cinematographers (and who IS his cinematographer, btw? If anyone deserves some kudos it would be he or she) evidently think like painters as well as filmmakers, as these caps make clear. Sometimes that can mean dull or heavy-handed filmmaking, but the trailer and the erotic tension in just those two minutes (as well as early reviews) has me confident (or at least optimistic) that Shainberg has achieved a synthesis of aesthetics and meaning.
(Whatever the heck that meant. In other words - looks good, can't wait!)
Interesting comparison to Sissy Spacek,
spudsie. I shall have to look again...and again (go ahead, twist my arm.

)
**Ok, I've got to say this. The wigmakers' art is astonishing today, and too little heralded. (They don't even have an Oscar for that, do they? For costumes and makeup but not wigs. They ought to, in my opinion. And again - who is the wigmaker, and or the person who sets it?)
Of course I know she wearing a wig here (or more than one, mostly likely), because I know her hair texture well enough and I know from past films etc. (When I saw Birthday Girl I naively assumed she had just dyed her hair until I read an interview with the director, Jez Butterworth, in which referred to her wearing a wig. Likewise Moulin Rouge -I never even thought about it at first, really.) Of course I know better than that now, but it still never ceases to amaze me how many films I've seen Nicole in and not once am I thinking, oh, yeah, that's a wig you can tell.
Look at the cap where she's on the beach pressing the fur/hair of her coat to her face. Enlarge the cap to see the individual strands of hair that seem to be growing from her "hairline". I see a little band of change in coloration that might or might not be makeup to cover an edge of a wigcap, and I'm sitting here staring at a still image. It's fascinating and I am thoroughly impressed - how do they do that?