Posted by admin on February 21, 2024

For our 30th annual Hollywood Issue, we’ve chosen 11 vibrant, wildly different stars seizing this moment. We gathered them together over two sunny January days in Los Angeles, under the direction of photographer and filmmaker Gordon von Steiner, to talk about everything from their first auditions to their most unforgettable lines—and, of course, to create this year’s VF Hollywood cover, an homage to our first foray into the form three decades ago.

The uncertainties, of course, can’t be denied: The entertainment industry just emerged from the most profound work stoppage in its history. Audiences are splintering, bottom-line priorities are intensifying, and there are still existential questions about the future even as cameras start rolling again. But if movies as surprising and visionary as Barbie and Oppenheimer can smash box office records even as Marvel and DC franchises nose-dive, it’s clearly time to shake things up.

For our 30th annual Hollywood Issue, we’ve chosen 11 vibrant, wildly different stars seizing this moment. We gathered them together over two sunny January days in Los Angeles, under the direction of photographer and filmmaker Gordon von Steiner, to talk about everything from their first auditions to their most unforgettable lines—and, of course, to create this year’s VF Hollywood cover, an homage to our first foray into the form three decades ago.

The uncertainties, of course, can’t be denied: The entertainment industry just emerged from the most profound work stoppage in its history. Audiences are splintering, bottom-line priorities are intensifying, and there are still existential questions about the future even as cameras start rolling again. But if movies as surprising and visionary as Barbie and Oppenheimer can smash box office records even as Marvel and DC franchises nose-dive, it’s clearly time to shake things up.

And you’ll see a new generation rising, with bright talents like The Bikeriders’ Jodie Comer, Saltburn’s Barry Keoghan, and Wednesday’s Jenna Ortega imbuing complex roles with extraordinary humanity.

Some of the actors here were primed for a whirlwind before everything abruptly went quiet with the actors and writers strikes.

Ortega, who will star in Tim Burton’s Beetlejuice sequel this fall, says Wednesday’s record-breaking Netflix launch, which closed out 2022, had been dizzying. “I didn’t know what to say or do,” she says. “I just became very confused emotionally.” The break imposed by the strike helped her remember why she’s been acting full tilt since she was nine: “To still enjoy the job just as much 12 years later—having seen all of the ugly and wonderful and extreme—is pretty cool.”

Others couldn’t slow down at all. Because Greta Lee’s Oscar-nominated movie, Past Lives, was an independent production, she had the mixed blessing of being allowed to do promotion for a year straight: “That’s why I feel like a corpse woman who’s ready to lie down and crawl into either a cheeseburger or bowl of spaghetti.”

But like many of her peers here, Lee spent years navigating narrow-minded business models, so she knows this moment matters. “For myself and for other Asian American women, I don’t want to accept my previous reality—I can’t,” she says. “I have to make up for lost time.”

Randolph, meanwhile, may well take home an Oscar on March 10 for her work in The Holdovers after making a name for herself on the New York stage. “When you truly understand the climate of this industry and who’s telling the stories, we’re marginalized. And then on top of that, to be a woman of color who is curvy?” she says. “This outdoes the dreams that I dreamt…. I let go of the wheel in that respect a long time ago.”

Lily Gladstone, an Oscar nominee this year for Killers of the Flower Moon, was raised on the Blackfeet Reservation in northwestern Montana, and came up fighting for a paltry selection of Indigenous parts in film and television. “You kick the door down to hold it open,” she says. She’s now the face of progress and could become the first Native American performer to ever win best actress. “I advocate for other people before I advocate for myself,” she says. “Even just making dinner reservations, I count the whole party and I forget myself.”

On a hazy winter afternoon, Charles Melton paces on his deck in the Silver Lake hills. He’s demonstrating exactly how, and where, he developed the physicality of his character, Joe, in May December, which has vaulted the Riverdale alum from teen-soap idol to art house heartthrob.

Between sips of Coke Zero, Melton gazes out at the panoramic view of the Los Angeles skyline. “I’ve always been a big dreamer, and I’ve tried not to set any limits in my mind because I’ll get caught up in the limits outside of me,” he says. “I’m always seeking. My ambition is always driving me.”

He can’t say what’s next, after so many prizes and nominations. But Melton has come out of May December focused and reoriented. He’s ready to take the town in his hands—and you hear that a lot from this group. “There’s been this democratization of creativity where gatekeepers have been demoted and everyone can make things,” says Portman.

Audiences are already reaping the rewards. —David Canfield

Meet the Stars of the 2024 Hollywood Portfolio


The British actor is only 30 and already halfway to an EGOT, but she swears she’s not following a playbook: “I am just following my gut.”


 

Posted by admin on February 16, 2024

The End We Start from has been released digitally! Be sure to check out this amazing movie. Hopefully Jodie will snag all the awards in 2025 Award Season! Screencaptures of Jodie as ‘Woman’ have been added to the site. Enjoy!



 

Posted by admin on January 16, 2024

She’s a rare breed of actor, one who seemingly can do no wrong.

From one project to the next, Jodie Comer’s talent only seems to grow as the world takes watch.

The Liverpudlian is undoubtedly one of the country’s finest performers and her latest film ‘The End We Start From’ is demonstrative of just why her stock is so high within the industry.

She plays a new mum, whose son is born into an apocalyptic world. Climate change has come to a devastating head and Jodie’s character “mother” is forced to abandon her home in search of safety.

While the film isn’t ostensibly about raising awareness of ecological and environmental issues, Jodie believes it could get people talking.

“They are in the midst of a climate crisis, but I think in the telling of the story so much of that is symbolic of her experience.

“It’s quite a nuanced telling. I think all art has that ability, change happens even if it’s just a conversation between friends.”

Whether it’s the charismatic physcopath she played in Killing Eve, or her multiple award-winning stint as a defence barrister on stage in Prima Face, Jodie seeks out work that forces her to dig deep.

I ask her why she leans towards raw and tangible projects and her response is simply, “they excite me and provoke emotion,” she says.

“It’s what I’m drawn to and I think you learn something different on every job, which always kind of stays with you.”

The End We Start From is an outlier in the “disaster movie” sphere, in that there aren’t many scenes of widespread chaos or drawn-out fight sequences.

Rather it favours a focus on individual experience and emotion from within to help deliver the story.

Director Mahalia Belo, who gave birth during lockdown, wanted the film to be as much about the mother and her baby, as it was about the world crumbling around them.

“I like it when films speak about the internal in an external way. You kind of manage to get scale and scope through that,” she says.

“It was important to feel rooted around a women’s journey. It’s about the future and what we are raising them (our children) into.”

Having seen the movie, I can tell you that there is rarely a moment where Jodie is without a baby in her arms.

Real babies were used for the majority of filming and that often posed a charming challenge for the cast.

Jodie remembers the one big rule that “they have to have a break every 20 minutes”.

They’d be “taken away after 20 minutes and another baby would be brought in. Motherhood is explored in a very unique way and working with babies so extensively really created beautiful, honest and spontaneous moments.”

The End We Start From is in cinemas on January 19.

ITV News

Posted by admin on January 16, 2024
‘There was a lot of women in front of and behind the camera. It was invaluable to me. Not being a mother myself, there were a lot of unknowns.’

From a lethal hired assassin to a French noblewoman, Jodie Comer has proven time and again that she can turn her hand (and accent skills) to any role. Now, she has turned her attention to one of the most important roles of all – motherhood.

She plays Mother in The End We Start From, a movie adaptation of Megan Hunter’s novel of the same name. It explores the story of a new mother who must navigate a world that changes overnight after shocking floods change the landscape of civilisation. It’s a sweeping story of resilience and hope, told through the eyes of a parent struggling for her child’s survival, as well as her own. The project is helmed by incredible female voices, directed by Mahalia Bello and with fantastic supportive performances from Fantastic Beasts star Katherine Waterston as O Notting Hill’s Gina McKee.

GLAMOUR sat down with Jodie to talk the “invaluable” experience of working with women in front of and behind the camera, how her work empowers her and the honour of truly depicting mothers as everyday heroes.

What drew you to the story of The End We Start From and the role?

I was really compelled by how Mahalia wanted to explore motherhood, how this woman’s world is changed quite intimately through the birth of her son, but also simultaneously the world around her becoming gradually unrecognisable. It felt very nuanced.

So many blockbusters, particularly around the apocalypse, are told from the male perspective. How did it feel to tell it from not just a female perspective, but a mother’s?

I think what struck me and felt unique to me about the tone of the story was that Woman feels to me like an everyday hero. She feels like a woman who you either yourself relate to, or one that you know. I don’t think she’s either also aware of her own bravery, you know, she’s not afforded the time to dwell and take stock of what it is that she’s experiencing, because she’s having to push forward for the safety of her son.

I feel like that is very relatable to the human experience of how we can sometimes feel like, ‘I don’t know how I would cope with that or I wouldn’t be able to cope with that’. And actually, ultimately, when you’re faced with it, you somehow do, because you have to – you have no other choice. And I really connected with that, because it just feels like we’re speaking about something on a very human level.

Your work on Prima FacieThe Last Duel and now in The End We Start From tells very raw stories about the experiences and injustices of being a woman – why are these stories important for you to tell and bring to the screen and the stage?

I think they were important for me to tell because they resonated with me, I relate to them in a really personal way. They were stories that I knew my friends would also relate to – the themes felt universal and they felt important. And they were written beautifully. So for all those reasons, they just felt like a no brainer.

But I think ultimately, they provoked emotion in me. The films I’m enjoying at the moment are the films that are really kind of striking a chord with me emotionally. So that’s what I’m always looking for when I’m reading a script, it’s like ‘How does it make me feel? Do I care?’ I want to care about it. And that’s usually a good indicator as to whether I want to move forward with it.

This film is going to reach so many women who feel frustrated with the state of the planet and parenting expectations alike, and empower them. What feels empowering to you in your own life?

What do I feel empowered by? Honestly, it’s kind of a dull answer but my work really empowers me. Because I feel like each role I play, I find more of myself. I’m realising that more and more actually, I’m not necessarily aware of it when I make the choice to take a role, but I feel in the aftermath, I realise that I’ve learned so much about myself and therefore evolve and grow. I’m realising how integral my work is in that evolution of myself. So I feel like my work is incredibly, incredibly empowering to me.

That’s a gorgeous answer.

It’s a bit dull though isn’t it? My job? F**k off! Get a life! Go out! [Laughs] Get some fresh air! Get a hobby!

The film is directed by a woman and full of such amazing female performances by stars like Katherine Waterston and Gina McKee. What was that like?

There was a lot of women in front of and behind the camera. It was invaluable to me. Not only did it create a sensitivity and understanding, but not being a mother myself there was a lot of unknowns for me, and a lot of things I was having to uncover and understand, instincts that I didn’t innately have, because it wasn’t my experience. Even when you’re thinking about the physicality of what it is to hold a child, the relationship you have with your body after you’ve given birth, all these complexities.

I can think of so many moments where we would run a take, like simultaneously we would just keep the camera rolling, and I’d get little whispers here and there. Whether it was [cinematographer] Suzie [Lavell] on the camera, or Mahalia… Just little directions, about the way I was holding the baby, to move my hand, all of it was so unbelievably helpful and delivered with such kindness. It was great to have that environment around me when I was learning so much.

You and Katherine Waterston bring such amazing chemistry to the screen. Was this story of female friendship a big one for you to portray?

I love the relationship between Woman and O, and the relationship me and Katherine found. I think what it’s really celebratory of is that platonic love that we have with friends that I think can often become kind of sidelined, because we become so obsessed with romantic love and relationships. And actually, our friends are often the people who were there with us from beginning to end and, you know, see it through each time. So it was really lovely to explore that with her.

Katherine’s character, O, gives Woman, so much confidence because O is so certain in who she is, and invigorates Woman, and helps her find herself… I feel like with all the relationships within the film, there is such depth and a nuance.

During filming, and in the wider sense throughout other projects and your life, what do you do to take care of your mental health when you’re handling such big topics? What have you learned in that respect?

It’s funny, because I’d just done a play in London [Prima Facie], and then four weeks after we were filming The End We Start From. So I feel like the play prepared me for the shoots, because the shoot was very short. I was in every scene and time was of the essence, we were really having to move quite quickly. So I didn’t have much time to think about it. And in a way, I think that was probably quite helpful. I think you just have to take care of yourself. Go home, have a hot bath, you know, do those things that relax you.

Is there anything you’ve learned navigating the entertainment industry, in terms of staying true to yourself and accepting the roles that feel right for you and tell the stories you want other women to watch?

It’s such a cliché, but I think as I’ve gotten older and I have found myself more and have a deeper understanding of what it is I want, it becomes easier to navigate. I think for me, a big thing has always been as long as I’m choosing something for my reasons, and my integrity is intact, then it doesn’t matter if it’s a success or not. I know why I chose it. And I know what I’m personally getting from the experience.

I feel like if you do that, you can’t really go wrong. Because you only have yourself to answer to at the end of the day, you know yourself the best…  You have to sit with yourself. I would say just over time, it becomes a little easier to drown out the rest of the noise and focus.

Posted by admin on January 16, 2024

“He just came in and he was like, ‘Let’s go!’.”

The End We Start From might seem like your usual bleak post-apocalyptic movie, but Jodie Comer has shared a filming experience for a more joyful scene than you might have expected.

Set in a world that sees London submerged by flood waters, the new movie sees Comer play a mum who tries to find her way home with her newborn child after she’s separated from her family.

Along the way, she meets various characters and one played by Benedict Cumberbatch leads to a surprise dance party. Filming that sequence ended up being “cathartic” for both Comer and her character.

“It was amazing, because we’d been shooting for a good few weeks. It was a Friday night. When we got to the dance part, we had ten minutes, two takes. The moon was so full, we put the music on and it was incredibly cathartic,” she told Digital Spy.


“I think as well because it was an intense shoot, and we just had this moment where we could kind of let go. Everyone was vibrating, which was nice.

“It provides such a huge release for the characters, it’s that split second where they lose all inhibitions and forget the reality of where they are. And it was great that it was Benedict actually, because he just came in and he was like, ‘Let’s go!’.”

This moment of light in an otherwise bleak setting was as important for director Mahalia Belo as it was for Comer.


“I feel it’s not hopeless. It is a journey, and it’s something where you have to see the world in a different way. And you have to see the world through a baby’s eyes, and also through the shifting landscape of the world,” Belo told Digital Spy.

“At the end of it, you have to feel like there’s room for improvement, and that can only come from hope. But also the humour element, we were keen on these little moments of humour that needed to be in it.”

The End We Start From is released in UK cinemas on January 19.

Posted by admin on January 16, 2024

Killing Eve star Jodie Comer may look pretty invincible when she’s acting, but she is surprisingly candid about her latest role, saying: “I started this process quite literally terrified.”

In climate change survival film The End We Start From, Comer plays a mother who navigates flooding and civil unrest – while trying to nurture her newborn baby.

It sounds like an impossible combination, but Comer evidently likes a challenge – she’s already garnered a slew of awards, including two Baftas, for her vastly different acting roles.

This film starts in London, where environmental disaster means Comer’s character and her partner flee their flooded home. They head for the safety of his parents’ house in the countryside.

But other people’s lawlessness, and the need for food and medicine, keep them on the move.

For Comer, the experience brought her into close contact with all the babies she had to work alongside..

In total, she worked with 15 infants, aged from eight weeks to young toddlers. “It was very eye-opening,” she says.

Strict on-set rules meant each child was only allowed to be part of a scene for 20 minutes at a time, hence why so many were needed.

It was a steep learning curve for the actress, who had to discover how to keep the babies happy so she could act with them.

“A lot of my younger cousins have grown up now, so I haven’t spent a lot of time around young babies,” she tells the BBC.

“My hands were visibly shaking when I met an eight-week-old on set. I was like, ‘Oh my god, what have I done?’

“It’s one thing to act and think about everything else, but then actually being conscious of this precious little being and making sure that they’re safe…”

Her character, simply called Woman, appears with baby Zeb in pretty much every scene, so Comer had to acclimatise pretty quickly to the unpredictable rhythms of babies during the six-week shoot.

“People always say nothing can prepare you for having a child, and that’s very much where Woman started,” she explains.

“But then you see her come into her own and find her instincts and nature. It felt like that simultaneously happened to me in real time.”

She laughs as she recalls a scene that was actually easy because the baby fell asleep in her arms.

“I always remember that scene where the man and the young boy came into the house,” she says. “The baby fell completely dead asleep. He was like a little sack of potatoes.

“The production staff were like, ‘Do you want to take him off?’, and I was like, ‘Just keep him there, I’m good, because he’s settled, he’s quiet – we’re happy’.”

Director Mahalia Belo adds: “In the sound you can hear him snoring!”

Belo is full of praise for Comer, and admits juggling so many infants while trying to direct the film was quite a logistical challenge.

“I was very lucky to have Jodie because it was so difficult,” she says.

“We had no time with the babies, so to have somebody who was really present, alive to the material and any shifts we had to make – we would never have got through it if it wasn’t for that tenacity.

“We’re all in the trenches, making an indie film with a baby,” she adds with a smile, explaining that if they couldn’t capture a crucial scene due to an infant crying, they would use a dummy baby if time was pressing.

Another challenge was depicting widespread flooding and carnage while filming during a drought in September and October 2022, when there was a hosepipe ban.

“We couldn’t use rain machines until the hosepipe ban was over,” Belo explains.

The moment the ban was lifted, they were able to film the water scenes.

“We managed to clear out this whole street and show the effect of flooding, and were quite clever with how we did it, because we didn’t have a great deal of money,” Belo adds.

“We wanted it to feel as natural as possible, so that when we did use effects, it was mostly on the periphery.”

For Comer, working on an independent film with a limited budget and timescale was a new experience.

“Before I’d done an indie film, I’d watch the British Independent Film Awards every year and hear people go, ‘The passion, the love, the sheer drive to get indie films made – it’s incomparable!’

“And then you create a film like that and you’re like, ‘Oh, it’s no joke, people are making this for the love of it’.”

She did have a caravan to dry off in, but says “to be fair I was hardly in it”, due to the sheer volume of scenes she was in.

Motherhood was a central theme, and the feelings of being overwhelmed that new mothers can have are mirrored in the film’s chaos, with the rising waters driving people out into the unknown.

Based on the lyrical novella of the same name by Megan Hunter, it was adapted for the screen by Alice Birch.

Birch also co-wrote the hugely popular TV adaptation of Sally Rooney’s Normal People and the screenplay for the award-winning film Lady Macbeth, which starred Florence Pugh.

Comer’s portrayal of Woman has been widely praised, with The Guardian’s Benjamin Lee describing her “magnificent lead performance”, saying: “As a big screen star, she’s just beginning.”

Variety’s Guy Lodge said Belo “directs with assured restraint, consistently stressing the human factor”.

The film features Benedict Cumberbatch, who is also a producer, plus Katherine Waterston and Gina McKee.

Comer calls McKee “a goddess”, while her day shooting with Cumberbatch gave her the chance to have a bit of a break.

“With Benedict, I just got to sit and watch – a lot of it was me observing him, and him telling his character’s story. So it was kind of amazing to sit and witness him do his thing.”

Waterston’s character O is a fellow displaced mum. The women’s friendship develops as they start to rely on each other for support, with Comer saying O teaches Woman to “just be herself”.

For Comer, having got the hang of working with babies, her goal as an actress is to keep challenging herself.

She is eloquently precise about what she looks for in a script.

“I want to be moved, I want to feel invigorated, I want to feel energised by the thought of telling the story, and I want to feel emotionally connected.

“I want to care. I have a very gut reaction to things and if it’s not a ‘Hell yes!’ it’s usually a ‘No’.

“I don’t really want to stay in a pattern of repetition and revisit the same things.

“I’m always looking for something – a new self-discovery, in a way.”

The End We Start From is in UK cinemas from Friday, 19 January.

Posted by admin on January 16, 2024

This is the year Jodie Comer becomes a bona fide movie star. Since her Emmy and Bafta-winning role as Villanelle in Killing Eve catapulted her into the big leagues, Comer has become one of the planet’s hottest acting properties.

At every new turn, Comer showcases her remarkable ability to transform and enhances her reputation further. If Killing Eve gave her the platform to explore her range and ability with accents in one incredible role, then Comer’s West End debut in hard-hitting solo drama Prima Facie confirmed she was in it for the long term.

The show transferred to Broadway, netting her a Tony Award to go with her Olivier, as Comer’s powerful performance as a lawyer navigating the misogyny of the legal system from the other side of the bench left audiences spellbound.

Before that, there were rave reviews for the hardcore realism of Jack Thorne’s Channel 4 pandemic drama Help, in which she played a care worker during the Covid crisis alongside friend and mentor Stephen Graham.

A pattern is starting to form around Jodie Comer’s career. Scripts of the highest quality, the very best collaborators, and work that speaks to important issues.

Another starring role in new independent British film The End We Start From confirms her as a talent for the ages.

“Ultimately, it’s a story about motherhood set within the midst of a climate crisis,” says Comer, when talking to The Big Issue via Zoom from London just before a well-earned Christmas break.

The End We Start From, adapted by Alice Birch from Megan Hunter’s novel and directed by Mahalia Belo, is a film of rare, raw power and poetry.

At its heart is Woman, played by Comer – the action moves too fast for us to be properly introduced, the only character with a name is baby Zeb. We meet Woman on the verge of bringing new life into a wild world in which the climate emergency is wreaking havoc in this country.

Extreme weather sees flood waters rising as Woman’s waters break. After giving birth to baby Zeb, Woman and her husband (Joel Fry) are forced to flee the comforts of their beautiful London home.

From there, it is a story of survival. The joy and anxiety of the extraordinary, intimate early days of motherhood are set against a gradual and entirely believable societal breakdown.

“I felt the exploration of that environmental crisis was unique,” says Comer. “We were exploring on a very human level, which really moved me – a lot more than a lot of films we’ve seen that maybe depict these kinds of happenings.”

The dialogue and intimate moments and exploration of Woman’s body were so clear on the page – and I felt so special, being able to do this

Jodie Comer

This is a depiction of early motherhood like none other in recent times. Raw, visceral, isolating and at times terrifying – with snatched moments of pure joy punctuating the climate chaos all around her.

“Not being a mother myself, I really want women to watch this and see themselves depicted in a truthful light,” says Comer.

“The dialogue and intimate moments and exploration of Woman’s body were so clear on the page – and I felt so special, being able to do this.

“The relationship women have with their body after they have a baby and how they feel transformed and there’s a part of their selves that is lost – we really explore that. And she’s going through all this in the midst of an environmental catastrophe.”

Apocalypse soon

The environmental crisis is not played out in the usual action film way. This feels like it could be set tomorrow. And it could be any one of us. It is up-close and intimate, entirely believable, the logic of the progression from leaving homes and cities as waters rise to finding safer spaces further out (as villages start closing their borders to outsiders), the refuge proving temporary as food scarcity hits, families are split, and people congregate in camps.

There are no major set piece scenes with Big Ben toppling into the Thames to tell the story. Instead, there is an evolving sense of dread as Woman navigates a world in crisis, fiercely focused on her new baby. It will resonate. Loudly. As versions of current global crises are shown on our doorstep.

At one point, Woman is forced to wait for a small boat to take her to a small island offering sanctuary. This film offers multiple new ways to look at the biggest issues in the world we are living in and to question our responses.

Change a Big Issue vendor’s life this winter by purchasing a Winter Support Kit. You’ll receive four copies of the magazine and create a brighter future for our vendors

“And the baby doesn’t know any different,” adds Comer. “They’re experiencing the world for the first time – all those revelations where everything is so sensory and so new. That provides such relief for Woman in moments, because she can’t help but find joy or ecstasy in a smile or a new noise he’s making.”

For screenwriter Alice Birch, whose previous work includes Florence Pugh’s brilliant breakout film role in Lady Macbeth and BBC One lockdown smash Normal People, this was highly relatable.

“Most of my work is interested in and engaged with women. I read the book just after I’d had my first child,” she says.

“The way motherhood and those early days were articulated in this kind of savage but poetic language, I found really moving.

“To have that told alongside this climate catastrophe felt like a frighteningly realistic portrayal of what that could be if it were to happen tomorrow. This is not some massive disaster film – it’s a bit more banal and soggy.

“I wrote the first draft during the first lockdown with my second tiny baby. So it was quite a heady experience and felt very within reach. Some of the state I was in definitely made it into the draft.”

Posted by admin on January 16, 2024

The End We Start From, Megan Hunter’s 2017 novel about a mother and her baby in a flooded city, seems increasingly timely. As the film is released, she reveals why she wanted a more female-centred take on disaster survival movies

At an unknown point in the near future, a woman is giving birth. As her contractions start, her home in London is flooded and, as her baby is born, it becomes clear that a climate catastrophe of biblical proportions has begun. A sea of water invades the city as the woman takes her first postpartum, post-apocalyptic pee, then flees for higher ground with her newborn in a car seat.

So begins the story of a new survival film starring the British actor Jodie Comer. The End We Start From goes on general release in UK and Irish cinemas from Friday and has a star-studded cast: Benedict Cumberbatch, Joel Fry, Gina McKee, Nina Sosanya and Mark Strong all appear alongside Comer.

For the author Megan Hunter, who wrote the extraordinary 2017 novel – her debut – which the film is based on, the plot was obvious: “I’ve always had an apocalyptic imagination – I remember, even as a child, dreaming about the sea overwhelming the Earth,” she says.

After having two children in her 20s, the 39-year-old found herself writing lots of poetry and short stories about motherhood in her spare time. “Then I had this idea to write a story about a woman giving birth in the future. And it seemed inevitable to me that she would be facing a climate disaster.”

Posted by admin on January 11, 2024

Best known for her BAFTA and Emmy award winning performance as the cold-blooded assassin Villanelle in Killing Eve, Jodie Comer is back and has teamed up with the award-winning British Director Mahalia Belo.

Their new environmental disaster thriller ‘The End We Start From’ sees Jodie’s character giving birth amid the floodwaters of a submerged London.



 

Posted by admin on January 10, 2024

Jodie attended the UK Screening for The End We Start From! Photos of her attending the Event have been added, enjoy!