Kate Winslet is currently promoting her first film as a director, Goodbye, June, which premiered on Netflix on Christmas Eve. During her appearances on various media outlets and podcasts, the actress and director is sharing reflections and personal experiences. In her recent appearance on the podcast Team DeakinsThe British actress explained that her first intimate experiences as a teenager were with girls, which allowed her to better understand her character in Heavenly creatures (1994), the film with which she made her cinematic debut. Directed by Peter Jackson, the film told the true story of Juliet Hulme and Pauline Parker, two New Zealand teenagers with an obsessive and codependent relationship.

If it's true that flowerpots resemble pots, Kate Winslet's three children have a good chance of making a name for themselves in the film world. Her eldest two have already taken steps in this direction. This week, Winslet's second son, Joe Anders, presented his first film as a screenwriter. Goodbye JuneThe film also marks the directorial debut of the renowned British actress. The drama premiered on Netflix on December 24th and is inspired by a biographical event that marked Anders' youth. Meanwhile, Winslet's eldest daughter, Mia Threapleton, has been trying to establish herself as an actress for some time. The fact that both young people aspire to creative careers in film, the same field in which their mother has triumphed, has led to them being labeled as Nepo babieswhich in Catalan was translated as children of nepotism. This week, the star of Titanic He rebelled against the use of that label.

There are many and very different films that could be made about Lee Miller from the period of his life we chose: young model for the magazine Vogue, a fashion photographer in New York, muse and lover of Man Ray and one of the few photojournalists on the Allied front during World War II. This last facet is the focus of the biopic Lee Miller, whose main asset is the brave performance of a Kate Winslet who avoids the temptation to turn Miller into a heroine and, in fact, does not even try to make her likeable. The film, on the other hand, shamelessly embraces the conventions of the biopeaks to make a Wikipedia review of the events and people of this stage of Miller's life, an excessively routine exercise that does not do justice to the complexity and courage of the woman who planted her dirty boots from the Dachau floor in Adolf Hitler's immaculate bathroom and took a nude photo of herself in the bathroom.