); the producer Kate Solomon ; the director Ellen Kuras, making her feature debut after an award-winning career as a documentary maker, cinematographer and television director ; and Winslet, who worked for nearly a decade to put the script, cast and crew together.
The real Miller led a remarkable life, first as a model for photographers including Edward Steichen and Man Ray, then as a photographer herself, the centre of a circle of artists that included Picasso and Jean Cocteau. “She took control of her image, she wanted to be the author of what and how she saw,” Kuras says. Owning what you’re seeing and how you want to tell your story is common theme at TIFF this year, as a years-long push to diversify filmmakers begins to bear fruit.
“We all know the horrors that happened,” Solomon says. “But Lee was one of the first journalists to photograph it, and we see that play out on Kate Winslet’s face. We use Lee’s real photograph of the bodies, and we hold on that image for a long time, so long that it’s uncomfortable. Because Lee wanted people to see it.” In fact, the only time Miller breaks down in the film is when she fears her shots won’t be published.
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