She's currently advising R-Pattz in Cronenberg’s Cosmopolis on screen and serving as a jury member on the 69th Venice Film Festival off screen.
Take One: Under the Skin (1997)
After some acclaimed TV and short film work, Morton made her feature bow in Carine Adler’s Under the Skin. In it she plays Iris, a girl selfdestructing and suffering due to the death of her mother. In this blistering debut Morton flits between girlish abandon and hot-tempered wilfulness. At times the camera has trouble keeping up with her as she weaves through life picking up numerous sexual conquests in retaliation for not being able to confront her grief. Other times, the camera can’t seem to pull away from its close focus on Morton’s expressive face, as in the scene where she enters a church and tearfully gazes at the congregation.
Iris’s spiralling descent into sexual oblivion is every bit as bruising and obsessive as, say, Michael Fassbender’s Shame odyssey – but from a far more adult viewpoint. (Whatever Fassbender’s Brandon did, he never had a guy piss on him for empty thrills – something Iris experiences here.) Iris vainly makes herself over by donning her dead mother’s clothes, wigs and makeup in an attempt to ‘become’ her in order to keep the memory close. Morton subtly alters Iris’ actions by veering between this maternal imitation and the fractured shell of a girl she really is. Authenticity is paramount to Morton and she shrewdly maintains a delicate balance between sexually assertive and introverted that never once feels contrived or tied up in actorly affectation. She's been a risk taker and has kept it real from day one.