Kim Novak’s Vertigo: Alexandre O. Philippe’s Documentary Revisits Hitchcock Classic at Venice

Kim Novak’s Vertigo, the latest documentary by Alexandre O. Philippe, premiered at the Venice Film Festival and explores both the legacy of Alfred Hitchcock’s Vertigo (1958) and the personal journey of its star, Kim Novak. At 92, Novak reflects on her career, describing her collaboration with Hitchcock as the highlight of her life in film, while also confronting the darker realities of Hollywood in the 1950s.

Philippe, known for Memory: The Origins of Alien and Lynch/Oz, approaches the subject with nuance and subtext, drawing inspiration from Saul Bass’ hypnotic spirals in Vertigo’s opening credits. Novak herself describes her life as “a big, beautiful circle,” mirroring both the film’s themes and her personal story of reinvention.

The documentary highlights Novak’s insecurities and struggles with Hollywood’s studio system, particularly under Columbia Pictures’ domineering head Harry Cohn, who notoriously demeaned her and forced her to change her name from Marilyn to Kim. These experiences tie into the psychological themes of Vertigo, where she played dual roles—the mysterious blonde Madeleine and the vulnerable brunette Judy—reflecting her own feelings of impostor syndrome.

Beyond her acting, the film showcases Novak’s artwork, painted with her left hand, filled with spirals, circles, and ethereal birds, which Philippe frames as a continuation of her personal and artistic identity. One of the documentary’s most emotional moments occurs when Novak rediscovers the iconic gray suit she wore in Vertigo, treating it as a sacred relic of her past.

Clips from Novak’s underrated performances in films like The Man with the Golden Arm (1955), Pal Joey (1957), Kiss Me, Stupid (1964), and The Legend of Lylah Clare (1968) remind audiences of her overlooked range and talent. Yet, the film emphasizes her decision to walk away from Hollywood, ultimately finding rebirth through painting and personal reflection.

With Dogwoof distributing, Kim Novak’s Vertigo runs for 1 hour and 16 minutes and screened Out of Competition (Non-Fiction) at Sundance after its Venice premiere. More than a documentary, it provides Novak with “permission” to revisit her story—unfiltered, unapologetic, and deeply moving—while enriching the enduring mystique of Hitchcock’s Vertigo.