Daniel Crooke here. In the past eight months we’ve seen Kate Winslet in her most peppery Polish accent pin a lifetime of parenting flaws on Steve Jobs, and rule a Mob roost with Russian verve in Triple 9. Audiences down under have already feasted upon her new film The Dressmaker, which won Best Actress honors for Kate, and Supporting Actress and Supporting Actor to Judy Davis and Hugo Weaving, respectively from the Australian Film Institute. Yet despite making its North American debut last year at TIFF, U.S. audiences have unfortunately been kept in the dark. A crying shame, once you’ve seen the splashy hats and dresses, striking desert landscapes, and simmering performances on display in its bold trailer so memorably exalted in Nathaniel’s YNMS.
Now, thanks to Amazon Studios, we will finally witness her smolder with a cigarette as an Aussie farmhouse carelessly blazes over her shoulder.
Amazon has five films currently in and out of the Cannes competition – Woody Allen’s classic Hollywood comedy Café Society, Park Chan-wook’s gothic lesbian thriller The Handmaiden, Jim Jarmusch’s ambling slice of lifer Paterson and Iggy Pop documentary Gimme Shelter, and Nicolas Winding Refn’s fashion world phantasmagoria The Neon Demon – and when you add Spike Lee’s kaleidoscopic Chi-Raq and Kenneth Lonergan’s Sundance pickup Manchester by the Sea to the pile, you’ve got to applaud their team’s adventurous, cine-literate taste. With The Dressmaker, they instill faith in the box-office and streaming potential of female filmmakers, expand their international reach, and continue to stand up for films that don’t snugly fit into classifiable categories bottom-lined with boring expectations. Their added commitment to real theatrical releases begs the question: who says streaming’s killing the cinema?
What do you make of Amazon Studios’ continuing foray into the marketplace? And, more importantly, on a scale of Carnage to Eternal Sunshine, how psyched are you for a new Winslet vehicle?