And so I love the idea of shifting the camera’s perspective over to that character. And they were played by these incredible actresses – Diane Keaton, Allie McGraw – and they get kicked out of the movie at a certain point and we never find out what happens to them. I was so struck watching all of those films back to back seeing how they all had these incredible actors playing the wife or girlfriend of the male protagonists, but they only had a handful of scenes. The Dustin Hoffman film Straight Time, Sam Peckinpah’s The Getaway, Peter Yates’ The Friends of Eddie Coyle and of course The Godfather. The first part is that Jordan and I were watching a bunch of crime dramas when we came up with the idea: Michael Mann’s first film, Thief. The reason I decided to set it in the 1970s is twofold. I really appreciate you saying that because it’s so important when you're making a period piece, to find a contemporary lens through which to portray the past. Why did you choose to set it in the 1970s? Your film is visually outstanding with so much period detail, but its ambition feels timeless. I caught up with Hart to hear about the in-betweenness of the 1970s, chosen families, the soul-affirming power of Aretha Franklin and more. It could only come from the mind and heart of a woman who knows about family, and who, lucky for us, knows how to make a damn good movie. We’re also blessed with a fully-rounded vision of a woman as they exist in our world: women who are tired, women who burn toast and break eggs, women who have to take care of their children and themselves as well as basking in the glow of their stylish crime caper. Here, Jean has her own business to take care of too. I’m Your Woman lifts the curtain on the woman who was always there, always waiting while her man – that charismatic, reckless, often selfish and hurtful man – got the job done. We’re not here to grapple with sickly-sweet Girl Power messages of generic empowerment, no, Hart and Horowitz are too lucid and motivated for that. It’s a movie that wears its influences on its perfectly-tailored, patterned and flared sleeves, one that sees The Marvelous Mrs Maisel powerhouse Rachel Brosnahan turn her talents to a different kind of headstrong woman on a mission. The sharp-eyed independent filmmaker Julia Hart, alongside her writing partner, producer and husband Jordan Horowitz, relishes these distinctions in her subversive 1970s crime thriller I’m Your Woman. There’s a difference between being left on your own, feeling lonely and knowing how to survive alone. Ella Kemp meets the filmmaker to find out more. For her latest trick she takes her ambition to the next level with I’m Your Woman, a 1970s crime movie that casts the gangster’s wife in a new light with her own agency. Julia Hart returns to screens big and small, confirming her presence as one of our most brilliant filmmakers working today.
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