GIRL ON FILM Zoey Deutch is feted by Max Mara.

The 2017 Women in Film Max Mara Face of the Fu­ture Award goes to ZOEY DEUTCH, and she’s de­ter­mined to keep the fo­cus on fe­male sto­ry­tellers.

Harper’s Bazaar (Australia) - - Contents - By CLARE MACLEAN

IN OC­TO­BER 2015, Jen­nifer Lawrence wrote a piece for Lena Dun­ham’s fem­i­nist news­let­ter, Lenny, head­lined “Why Do I Make Less Than My Male Co-stars?”. It re­vealed how she was forced to ques­tion her skills as a ne­go­tia­tor af­ter the Sony hack leaks broad­cast just how much more the male co-stars in her films were earn­ing. Since then, many other prom­i­nent fe­male ac­tors have spo­ken out about the chal­lenges of be­ing a wo­man work­ing in Hol­ly­wood, from Mila Ku­nis’s im­pas­sioned opin­ion piece de­tail­ing how she was told she’d “never work in this town again” when she re­fused to pro­mote one of her films by pos­ing half naked for a men’s magazine, to Reese Wither­spoon talk­ing about ex­pe­ri­enc­ing “Smur­fette Syn­drome” — be­ing the only wo­man on set — for the first 25 years of her ca­reer. while the sta­tus quo is far from per­fect, one only need look at the box of­fice suc­cess of such em­pow­er­ing films as Hid­den Fig­ures, about a team of African-amer­i­can women at NASA, to see that things are slowly chang­ing for the bet­ter, thanks in part to ini­tia­tives such as the an­nual Women in Film Max Mara Face of the Fu­ture Award.

Now in its 12th year, the award cham­pi­ons a fe­male ac­tor on the cusp of mak­ing it big. this year, the re­cip­i­ent is Zoey Deutch, best known for her role as Rose in Vam­pire Academy, but who also re­cently starred along­side Bryan Cranston, Me­gan Mul­lally and James Franco in the com­edy Why Him?. today she is in Mi­lan to at­tend the brand’s A/W 2017 show (tellingly, the penul­ti­mate line of the col­lec­tion notes is “Max Mara has long cham­pi­oned the mod­ern hero­ine in her climb to the top”). “i have been go­ing to the [Women in Film Max Mara] Face of the Fu­ture event in LA for many years,” says Deutch, who is ward­ing off the chill in a Max Mara coat as over­sized as she is pe­tite. “When I got the email about be­ing this year’s re­cip­i­ent, I didn’t read it right, be­cause I never ex­pected it. I called and told my pub­li­cist I would love to go to the event, and they were like, ‘So, OK, you are go­ing to fly to Mi­lan’, and I was like, ‘why Mi­lan?’, and she was like, ‘no, you are get­ting the award’, and I was like, ‘whaaaaaat?’

“I mean, it’s pretty ex­cit­ing be­cause I love be­ing aligned with a brand so com­mit­ted to cel­e­brat­ing and em­pow­er­ing women in the arts and in film,” Deutch con­tin­ues. “They put so much time, en­ergy and ef­fort into sup­port­ing women and em­pow­er­ing women in the arts and, umm …” She thinks for a beat. “i just like to re­peat my­self over and over — it’s one of the great­est tech­niques I have.”

Deutch’s abil­ity to make fun of her­self shines through over the course of the in­ter­view, whether she’s talk­ing about how she couldn’t stop grab­bing Me­gan Mul­lally’s boobs on the Why Him? red car­pet or how ob­sessed she is with co-star Bryan Cranston (“If you ever get a chance to in­ter­view him, don’t tell him how freak­ishly ob­sessed I am with him”).

Her play­ful ease per­haps stems from the fact she is no stranger to the Hol­ly­wood world. Deutch’s father is di­rec­tor Howard Deutch, whose cred­its in­clude Pretty in Pink and Some Kind of Won­der­ful, and her mother is Lea Thomp­son, an ac­tor best known for play­ing Lor­raine Baines in the Back to the Fu­ture tril­ogy and Caro­line in ’90s sit­com Caro­line in the City. The advice they have for their daugh­ter af­ter decades in the busi­ness is re­fresh­ingly suc­cinct. “They have just been very firm in say­ing, ‘Do what you love, work hard, be nice to peo­ple’ — my mum al­ways says that — ‘and be hum­ble’. that’s it. Oh, and ‘wear sun­screen!’”

Deutch has been work­ing very hard in­deed. this year, she will ap­pear in the J.D. Salinger biopic Rebel in the Rye, in which she plays so­cialite Oona O’neill, who had a brief love af­fair with the au­thor be­fore mar­ry­ing Char­lie Chap­lin. “re­search­ing the role felt like a crash course in the ’40s and that elite Newyork so­ci­ety, which ev­ery­one is pretty fas­ci­nated with, for ob­vi­ous rea­sons,” Deutch says. Then there’s the coming-of-age drama Flower, di­rected by Max Win­kler, as well as Theyear of Spec­tac­u­lar Men, which was writ­ten by her sis­ter, di­rected by her mother and pro­duced by her father (“It was as grass­roots and per­sonal as you can pos­si­bly get with film­mak­ing”).

But it is Be­fore I Fall that the ac­tor is most ex­cited about. “it’s the story of a girl who re­lives the last day of her life over and over again un­til she learns how to right her wrongs and be­come who she re­ally is,” she says. “A girl who learns to not let her flaws de­fine her and to use her voice and un­der­stand that she mat­ters in this world and that what she does today could have an ef­fect now and for­ever.” It is also the film that per­haps best em­bod­ies the spirit of the Women in Film or­gan­i­sa­tion. “The movie is based on a book, and the book was writ­ten by a wo­man [Lau­ren Oliver],” Deutch says, “and the script was writ­ten by a wo­man [Maria Maggenti], it’s di­rected by a wo­man [Ry Russo-young], I am a wo­man … and that was def­i­nitely a point of dis­cus­sion while I was do­ing press at Sun­dance. But I think it’s im­por­tant to keep that dis­cus­sion go­ing.”

Zoey Deutch wears Max Mara coat, $3350, top, price on ap­pli­ca­tion, pants, $770, stock­ings, $65, and shoes, price on ap­pli­ca­tion. Also shown: Max Mara bag, price on ap­pli­ca­tion.

Max Mara coat, $3350.

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