Skip to main content

Kate Winslet: ‘I feel way cooler as a fortysomething actress than I ever imagined’

The star of one of 2021’s biggest TV hits, Mare of Easttown, talks about weepy reunions with Leonardo DiCaprio, binging Ted Lasso and middle-aged women taking over our screens

Kate Winslet will be ready in a sec. “I’m just going to put some more eyedrops on my stye,” she says. Blame her intense crime drama Mare of Easttown, one of the TV hits of the pandemic. “It was quite a stressful job, and about nine weeks in I got three styes in my left eye, the third of which turned into a solid little marble and had to be cut out. But I pushed on. On with the show!” In it, she plays DS Mare Sheehan, who is raising her grandson, coping with her son’s suicide, and trying to solve the murder of a young mother in a working-class Philadelphia suburb. All without makeup: Mare is more likely to reach for a Cheeto topped with a squirt of spray cheese than anything in the Max Factor range.

“The discussion about how Mare looked blew my mind,” says Winslet. The 46-year-old actor is speaking by phone from the West Sussex home she shares with her husband, Ned Abel Smith, and their seven-year-old son Bear, as well as her two children from previous marriages: 21-year-old Mia by her first husband, Jim Threapleton, and 17-year-old Joe by her second, the director Sam Mendes. “People were asking, ‘Did she gain weight? Didn’t she look frumpy? Wasn’t that brave of her?’ But why should that be brave? I suppose because it’s not how leading actresses are represented. Maybe Mare will be the tipping point, and we’re going to stop scrutinising women on screen quite so much.”

Continue reading...

from Culture | The Guardian https://ift.tt/3enRO9e

Comments

Popular posts from this blog

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV

Elena Ferrante: ‘Solaris is not Tarkovsky’s best film, but it made the greatest impression on me’

Solaris is astonishing because the book that inspired it doesn’t seem to contain Tarkovsky’s film A film that I watch at least once a year is Andrei Tarkovsky’s Solaris . I’ve loved all of Tarkovsky’s works, even the most difficult. Some I’ve seen in the cinema, others on television. I saw Andrei Rublev at the cinema, and on the big screen it was astonishing, its black-and-white extraordinary: I’ll probably never see it again in a cinema, but I hope that young people will have the opportunity. I also saw Solaris on the big screen – not Tarkovsky’s best film, but the one that made the greatest impression on me. I remember that it was advertised as the Soviet answer to 2001: A Space Odyssey – a completely misleading slogan. To see in it a cinematic contest between the US and the USSR was as silly as it was misleading. Kubrick’s marvellous film, with its imaginative force, would certainly win. But it doesn’t have even a hint of the desperation, of the sense of loss, that dominates Sol...