We recently learned that actress Cate Blanchett is getting ready to make her directorial debut. This is awesome because 1.) it’s Cate Blanchett and 2.) it’s always cool to see more women getting behind the camera. Many of us are familiar with the big names — Sofia Coppola, Kathryn Bigelow, and Miranda July for the indie-lovers. But there are plenty of other women filmmakers who are making good, quality productions and who should be on everyone’s radar. Spike Lee recently made an addendum to his list of Essential Films and added five female filmmakers; here are some up-and-comers we think might make similar lists in a few years.
The Oscar-nominated actress best known for her leading roles in Juno and Inception will soon make her directorial debut with Miss Stevens. We’re seriously excited about the coming-of-age story (starring Anna Faris) that she’ll be bringing to the big screen.
Probably best known for her 2007 film Things We Lost In The Fire (starring Halle Berry and Benicio del Toro), Bier’s next film Serena will re-team Jennifer Lawrence with her Silver Linings Playbook co-star Bradley Cooper. Set in Depression-era North Carolina and based on the book by Ron Nash, we’re expecting big things from this seasoned director.
Having found some success with indie flicks like L!fe Happens and the hilarious short Idiots (starring Zoe Saldana and Kate Bosworth), Coiro’s most-recent release And While We Were Here -- an affair film starring Bosworth and Iddo Goldberg -- debuted to strong reviews at the Tribeca Film Festival and later in theatres. We’re looking forward to more slow-moving love stories and comedic-dramas with strong femme leads from Coiro.
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The Superman Returns star did her own hair and make-up and carried her wardrobe around in a suitcase on the set of the untitled Kat Coiro film.
She says, "It was super, super low-budget and we went with about six people... and gunned it.
"I really was changing in the most hideous bathrooms in Naples... It was an experience unto itself."
And, to add further drama to the project, director Coiro was seven months pregnant at the time.
Bosworth adds, "It was crazy."
Attractive college co-ed Casey (Odette Yustman) finds herself the target of the diabolical Dybbuk a spirit which has bided its time since her birth to make its nefarious presence known. Is it perhaps a manifestation of her twin brother who died in the womb all those years ago? Since dear old Dad (James Remar) is away on business -- seemingly for the entire length of the movie -- concerned Casey seeks answers from Sofi Kozma (Jane Alexander) a survivor of the Holocaust who may hold the key to Casey’s past. Needless to say those to whom Casey confides her fears often find themselves in danger of being offed in gruesome fashion. (Misery may love company but the Dybbuk doesn’t.) In a last-ditch effort to rid herself of the evil spirit Casey turns to Rabbi Sendak (Gary Oldman) who finally agrees to perform an exorcism after he too sees the signs. Aside from acting terrified (and looking good doing it) Yustman (Cloverfield) is totally at the mercy of the story which shows little mercy when it comes to providing any concrete (or even shaky) answers to the questions it raises. She’s attractive but there’s not much else to the character. As Casey’s respective boyfriend and best friend Cam Gigandet (Twilight) and Meagan Good (Saw V) are merely functionaries offering the typical mixture of skepticism and support before learning for themselves -- too late of course! -- that maybe Casey’s suspicions have validity. Adding a (misplaced?) touch of class to the proceedings are Oldman who doesn’t embarrass himself and Alexander who isn’t so fortunate. It’s also a wonder why Carla Gugino seen occasionally in flashback as Casey’s deceased mother even bothered. It’s a nothing role which might explain why the actress has no billing other than in the end credits. There’s no question that writer/director David S. Goyer has a deep love and appreciation for horror and science-fiction given his previous credits which include the scripts for Dark City Blade and The Dark Knight but as a director his work (which includes Blade: Trinity and last year’s The Invisible) leaves much to be desired. There are some good ideas here and some individual scenes are reasonably effective but the parts don’t add up to a satisfactory whole. The Unborn suffers from a botched delivery.