Ellen Kuras thought she knew what Kate Winslet could do.
She’d been the cinematographer on “Eternal Sunshine of the Spotless Mind.” But she was not prepared for the mature Winslet who, since 2013, has pushed the biopic of World War II Vogue photographer Lee Miller into production and offered Kuras the chance to helm her first film feature after directing television and documentaries (Oscar-nominated “The Betrayal”).
Independently financed, “Lee” had its world premiere at TIFF and is seeking a North American distributor. An Oscar campaign for Winslet would be in the sights of the buyers.
No question, Winslet was driving the train as actress and producer. “She was very involved in the film from A to Z,” said Kuras, “from all the research to us having extensive conversations about who we wanted to cast, talking about who could be in different roles.” Winslet reached out to ask actors to consider joining the independently financed production.
She’d been the cinematographer on “Eternal Sunshine of the Spotless Mind.” But she was not prepared for the mature Winslet who, since 2013, has pushed the biopic of World War II Vogue photographer Lee Miller into production and offered Kuras the chance to helm her first film feature after directing television and documentaries (Oscar-nominated “The Betrayal”).
Independently financed, “Lee” had its world premiere at TIFF and is seeking a North American distributor. An Oscar campaign for Winslet would be in the sights of the buyers.
No question, Winslet was driving the train as actress and producer. “She was very involved in the film from A to Z,” said Kuras, “from all the research to us having extensive conversations about who we wanted to cast, talking about who could be in different roles.” Winslet reached out to ask actors to consider joining the independently financed production.
- 9/11/2023
- by Anne Thompson
- Indiewire
This article was originally published in French by Charlie Hebdo on January 26, 2022. Translation by Craig Keller. Special thanks to Antoine Thirion.My friends, before it leaves the big screen, rush to see Pedro Costa’s Vitalina Varela: this is very important. We can all agree: the cinema in its near totality has turned to shit, is soulless, has sold out to that hysterical movie-trailer factory which only produces images of our tolerance for junk. But a few filmmakers find unscathed images: images that, through their political dignity, through their poetic rectitude, cut themselves off from tawdry hell; among these filmmakers, there is Pedro Costa.Vitalina Varela deboards a plane barefoot. A chorus of cleaning-women inform her that she’s arriving too late; her husband has been buried three days prior. “Go back home,” the chorus intones. But Vitalina Varela was waiting for more than twenty years in Cape Verde for her husband,...
- 3/10/2022
- MUBI
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