women’s tales

Some of your big­gest girl crushes are grac­ing the sil­ver screen this month, in three wildly dif­fer­ent roles

ELLE (Australia) - - Contents -

This month’s film line-up is a cel­e­bra­tion of tal­ented women.

CHLOË SEVIGNY

Your favourite cool-girl makes her re­turn to hor­ror this month, in new film The Snow­man – based on the best­selling book of the same name by the Nor­we­gian mas­ter of creepy thrillers, Jo Nesbo. With Martin Scors­ese as one of its ex­ec­u­tive pro­duc­ers, the film is a roll­call of Hol­ly­wood heavy­weights – think Michael Fass­ben­der, Val Kilmer and Char­lotte Gains­bourg, with Fass­ben­der play­ing one of the de­tec­tives tasked with in­ves­ti­gat­ing a se­rial killer dubbed “The Snow­man”.

Sevigny’s ré­sumé of late has been as var­ied as ever (we can’t think of many oth­ers who could go from art­house dar­ling to Big Love sis­ter wife with such aplomb). She’ll star in the off­broad­way play Down­town Race Riot this month, and has re­cently tried her hand at di­rect­ing, firstly the fan­ci­ful short film Kitty, in which a young girl morphs into a cat, and next, a short com­edy/ drama ti­tled Car­men. Then there’s the psy­cho­log­i­cal thriller Lizzie, which she’ll star in along­side Kris­ten Ste­wart, and Lean On Pete, with Steve Buscemi and Travis Fim­mel. So if you’ve been miss­ing her pres­ence in your life (and your Net­flix binges) since Blood­line wrapped, this is the time to get your fix.

The Snow­man is out now

ALI­SON BRIE

Mak­ing a name for her­self via two dis­tinctly dif­fer­ent hit shows (each with a cult fol­low­ing in their own right), Mad Men and Com­mu­nity, has given Brie a uni­ver­sal ap­peal most It-girls would give their front-row seat at Miu Miu for. Also win­ning hearts in rom-coms Sleep­ing With Other Peo­ple and How To Be Sin­gle, along­side your other girl crush Dakota John­son, she’s since added a layer of girl-power grit with wrestling TV se­ries GLOW.

This month, she’ll star in the James Franco-di­rected The Dis­as­ter Artist, a very meta ac­count of the mak­ing of 2003 movie The Room – no, not the one where Brie Lar­son and her son plot their es­cape from a psy­chopath, this film was no­to­ri­ously re­garded as one of the worst movies ever made. Iron­i­cally for be­ing such a bomb, The Room (which was writ­ten, di­rected, pro­duced and acted in by Tommy Wiseau) be­came a mas­sive phe­nom­e­non, with fans cam­paign­ing for its re­turn to cin­e­mas, re­sult­ing in mid­night screen­ings through­out the US. Thank­fully, The Dis­as­ter Artist has much more prom­ise, with a far-from-dis­as­trous cast that in­cludes James and Dave Franco, Seth Ro­gen, Kate Up­ton, Kris­ten Bell and Zac Efron.

The Dis­as­ter Artist is out Novem­ber 30

JEN­NIFER CONNELLY

Connelly is one of those women for whom the “less is more” ap­proach is seem­ingly en­grained in her ev­ery move. Whether that be what you know about her daily life (not much, con­sid­er­ing she’s es­chewed Twit­ter and In­sta­gram) or her skil­fully re­strained per­sonal style – which has at­tracted fans such as Louis Vuit­ton artis­tic di­rec­tor Ni­co­las Gh­esquière and seen her re­tain her place as a favourite face of the brand – it’s def­i­nitely work­ing for her. Not to men­tion the Os­car-win­ning ac­tress re­port­edly plucks her own (glo­ri­ous) brows.

Her con­sis­tently gen­uine per­for­mances in heavy hit­ters such as Re­quiem For A Dream and A Beau­ti­ful Mind – plus, more re­cently, Amer­i­can Pas­toral – means she can dip into rom-coms like Stuck In Love and He’s Just Not That Into You and you’re not even mad at her for it. This month’s role falls firmly in the for­mer cat­e­gory, with Connelly star­ring along­side in­dus­try vet­er­ans Josh Brolin and Jeff Bridges, as well as your boys Miles Teller and Tay­lor Kitsch (see p48), in fire­fighter epic Only The Brave. If her char­ac­ter­is­ti­cally un­hin­dered and mov­ing per­for­mance as the wife of a fire­fight­ing cap­tain whose crew per­ish in a dev­as­tat­ing Ari­zona wild­fire doesn’t bring tears to your eyes, you’re not pay­ing enough at­ten­tion.

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