Directed by Thibaut Grevet, it’s made as a trailer for a psychological thriller that doesn’t exist. Hall plays an actress preparing for a role when another version of her starts appearing, dressed exactly as she is but hidden behind a mask. It’s strange, a little uncomfortable, and I couldn’t look away.

There’s tension, a plot, and that specific frustration of being shown two minutes of something you now want to watch in full.

Images: courtesy of Maison Margiela

The masks are Margiela through and through. They go back to the very first show, where they were used to pull focus away from the model and back to the clothes. Here they do something almost opposite. You spend most of the film wanting to see what’s underneath.

Each double wears Hall’s exact look paired with a different Artisanal mask made in the atelier for the Fall Winter 2026 show, staged in Shanghai in April. That show already had an odd, after-hours energy to it: Edwardian silhouettes, destroyed tapestries, Second Skin pieces, garments fused together, masked models moving through stacked shipping containers.

Images: courtesy of Maison Margiela

On film, all of it gets stranger. A Second Skin reads differently when the woman wearing it is being followed by another version of herself. Clothes that look pieced together or pulled from another time make sense on someone whose identity seems to be coming apart.

Images: courtesy of Maison Margiela

Margiela has done film before, from A Folk Horror Tale in 2021 to Cinema Inferno in 2022, but you don’t need any of that context to get pulled into ANONYMITY. It works on its own terms.

And then there’s Hall, looking at a woman who is dressed like her, moves like her, and may or may not be her.

The Maison Margiela Fall Winter 2026 collection is in stores and online now.