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Lee (15)
TALIESIN ARTS CENTRE
Swansea University
Singleton Campus
Swansea SA2 8PZ
Monday 28 Oct 2024
7.30pm Full Price £7.75 Student £5 Under 26 £5
Organised by
Taliesin Arts Centre
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About this Event
Lee (15)
Lee, the directorial feature from award-winning Cinematographer Ellen Kuras, portrays a pivotal decade in the life of American war correspondent and photographer, Lee Miller. Miller's singular talent and unbridled tenacity resulted in some of the 20th century's most indelible images of war, including an iconic photo of Miller herself, posing defiantly in Hitler's private bathtub. Miller had a profound understanding and empathy for women and the voiceless victims of war. Her images display both the fragility and ferocity of the human experience. Above all, the film shows how Miller lived her life at full throttle in pursuit of truth, for which she paid a huge personal price, forcing her to confront a traumatic and deeply buried secret from her childhood.
‘[Winslet] injects award-winning cinematographer Ellen Kuras’ glossy and conventional biopic with an energy that ushers an enigmatic figure to the foreground.’ Lovia Gyarkye, Hollywood Reporter
‘Lee is beautiful, daring, and elusive, as all great art should be.’ Andy Howell, Film Threat
‘As tenacious, groundbreaking American war photographer Lee Miller, Winslet appears in nearly every scene, dominates nearly every conversation, and says more with an arched eyebrow than many actors can say across pages upon pages of dialogue.’ Christopher Schobert, The Film Stage
‘[Winslet] injects award-winning cinematographer Ellen Kuras’ glossy and conventional biopic with an energy that ushers an enigmatic figure to the foreground.’ Lovia Gyarkye, Hollywood Reporter
‘Lee is beautiful, daring, and elusive, as all great art should be.’ Andy Howell, Film Threat
‘As tenacious, groundbreaking American war photographer Lee Miller, Winslet appears in nearly every scene, dominates nearly every conversation, and says more with an arched eyebrow than many actors can say across pages upon pages of dialogue.’ Christopher Schobert, The Film Stage
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