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Sarah Polley has a knack for catching people off-guard. After becoming a child TV star in her native Canada, she captured the attention of the rest of the world with her quietly powerful performance as a paralyzed girl in Atom Egoyan’s The Sweet Hereafter (1997). Since then, she has gravitated toward directors with strong visions, including Michael Winterbottom (The Claim), Hal Hartley (No Such Thing) and Wim Wenders (Don’t Come Knocking). She has eschewed Hollywood in favor of Canada’s government-supported film industry, even backing out of the role of “Penny Lane” in Cameron Crowe’s Almost Famous (the role later went to Kate Hudson, who earned an Oscar nomination) in order to star in a small Canadian project, John Greyson’s The Law of Enclosures.
Comparisons between 2 Days in Paris, Julie Delpy’s feature film debut as writer-director, and her work on Richard Linklater’s Before […]
The only predictable thing about David Lynch is that he is always looking to surprise us. Since 2001’s Mulholland Drive, […]
On the meaning of Inland Empire: We know [Lynch] is a non-conformist and we know he lives in the world […]
There is nothing more frustrating than feeling that no one will see your films,” says San Francisco-based moviemaker Caveh Zahedi. […]