Kristen Stewart covers the March 2015 edition of Interview magazine, lensed by Steven Klein and styled by Karl Templer. ven in close-up, with her eyes the color of Caribbean shallows filling the screen, Kristen Stewart seems to be hiding — or at least trying to. There is a discomfort, often verging on terror, that troubles her lips and pinches her brow, as if she's been shot up with truth serum and knows she'll be incapable of hiding her deepest secrets. She seems to recoil from our attention, squirming to shadow something, anything, of herself. This surface tension was the focal point of the five-picture Twilight series, hinging as it did on Stewart's Bella Swan and her anaerobic inferno of teen love for a vampire, and it has made Stewart the sort of Hollywood poster child for cool, adolescent angst. In films as far afield as Greg Mottola's comic Adventureland (2009), Sean Penn's searching and epic Into the Wild (2007), Doug Liman's silly sci-fi Jumper (2008), all the way up to last year's heartbreaking Still Alice, Stewart has shown she can play that angst with wry humor, rich feeling, sweetness, silliness, and everything in between. From her first roles, made before she was a teenager (The Safety of Objects, Panic Room, and Cold Creek Manor), the actress has seemed to be a natural, born to it, as in fact she was. Stewart, now 24, grew up in L.A. — grew up on the film sets where her parents work behind the camera in Hollywood. In her best roles, Stewart has made her candor, the nakedness that she would like to cover up, something more, something gracious even; she seems to have found a way to make her own self-possession heroic. As Joan Jett in The Runaways (2010), the translation from chill movie star to chill rock star is seamless and expectedly wonderful. But even in the Goya-does-Grimm-fairy-tale world of Snow White and the Huntsman, Stewart's surly and sweet Snow White is spot on. And playing the live-wire Beat Marylou in Walter Salles's adaptation of Kerouac's On the Road (2012), Stewart's cool becomes almost tangible, a magical dust she scatters around her — enchanting, mercurial, luminous. In this month's Clouds of Sils Maria, directed by Olivier Assayas, Stewart plays the personal assistant of a great and accomplished actress, played by Juliette Binoche, and for her performance, Stewart was the first American actress to be nominated for the French equivalent of an Oscar, the César, in 30 years. The film is in part about so many of the existential overlaps and intrusions an actress faces in her life and career, from the material and co-workers to things like magazine profiles. And, as Stewart tells her hero, writer and singer Patti Smith, she is not exactly immune to these intrusions herself, but if she's proud of where she is — and she is — it is only because of the stops she's made along the path to get there.