A newspaper photographer, Jean, researches the lurid and sensational axe murder of two women in 1873 as an editorial tie-in with a brutal modern double murder. She discovers a cache of papers that appear to give an account of the murders by an eyewitness. The plot weaves between the narrative of the eyewitness and Jean’s private struggle with jealousies and suspicions as her marriage teeters. –IMDb
Kathryn Ann Bigelow (born November 27, 1951) is an American film director, working in the science fiction, action and horror genres.
Bigelow was born in San Carlos, California, United States, the only child of a paint factory manager and a librarian. She broke into cinema via the art world, starting her creative life as a painter as a fellow at the Whitney Museum in New York. Bigelow entered the graduate film program at Columbia University, where she studied theory and criticism. Her professors included Vito Acconci and Susan Sontag. Bigelow worked with noted conceptualist Lawrence Weiner and worked with the Art & Language collective.
Bigelow’s first short film, The Set-Up (1978), is a 20-minute deconstruction of violence in film. The film portrays “two men (Gary Busey included) fight[ing] each other as the semioticians Sylvère Lotringer and Marshall Blonsky deconstruct the images in voice-over.” Her first full-length feature was The Loveless (1982… read more
word of advice: if you really like Liz Hurley just google search her name plus an adjective. Boy is this worthless. Sean Penn ponders aimlessly because the plot has no direction, the cinematography would be acceptable if it was meant for an obscure music video. The only element that shines through is Sarah Polley, who proves she can switch from American to Slavic to Nordic to Canadian accents fluently. Bigelo=hack
I'm more and more impressed with Kathryn Bigelow with each movie of hers I watch. She seems to be very good with lots of different genres, while still giving each of her films her own recognizable auteuristic stamp. With this film she does a great job with the slow-burn thriller genre; very Polanski-esque. The cinematography is especially good too.
Lazing on a yacht in the Whitsundays rates as one of the most relaxing experiences of my life, so the marriage of languid sensuality and simmering intrigue melded with the yacht setting of the present day action of this film is a brilliant fit. The paradox of the sea is that its waters can be calm in one moment and then be churning in the midst of a violent storm.