As more news floods in from Cannes, Variety has informed us that Mia Wasikowska is set to lead the Australian picture Tracks for The King‘s Speech producers, Emile Sherman and Iain Canning – who also produced Shame last year.
The Painted Veil director John Curran is helming the project, which tells the story of “how a young woman, Robyn Davidson traveled more than 1, 678 miles through the desert from Alice Springs, in the center of Oz, to the west coast in 1977.” The script is based off Robyn Davidson‘s memoir of the same name, with Wasikowska (obviously) playing the role of Roybn.
Sherman and Canning gushed about the young starlet commenting, “having produced films with incredibly powerful central performances, from Colin Firth and Geoffrey Rush to Michael Fassbender and Carey Mulligan, we are so excited that Mia has come on board to play this extraordinary role in Tracks. John is an incredibly talented filmmaker and we feel the story of one woman, transforming her life by attempting the impossible, is both universal and timely.”
Since The Painted Veil, Curran has showed promise with his directing career with Stone, the overlooked drama starring Robert De Niro and Edward Norton. He will also be contributing to the anthology film, Sydney Unplugged, which will be in the similar vein as New York, I Love You and Paris, je t’aime. And one doesn’t need to mention Wasikowska‘s acting potential, because she’s surely proven that with her numerous leading roles of the past few years, becoming a certified talent. Tack on Canning and Sherman and you’ve got a promising feature in the works.
Will you be interested in seeing Tracks with Wasikowska in the lead role?
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not […]
In the case of evaluating David Cronenberg, — or at least forming the sort of career narrative seemingly essential to auteurist analysis — it’s inevitable to propose something of a rupture within his oeuvre: the very evident graduation from grindhouse to arthouse, and, with it, an ascension from body to mind. What dictated these labels […]
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. If we were provided screener copies, we’ll have our own write-up, but if that’s not the case, one can find official descriptions from the distributors. Check out […]
Writing about the films of Robert Bresson usually begins by informing reader that his films must be discussed through a trance of hushed tones and quiet veneration. There is no room for rushed judgement or quick-witted observations; Bresson makes Serious Art, as opposed to Hollywood directors who do not. There are the key phrases to […]
Latest posts from Beats Per Minute