PEEPING MOM
In 1986, The Guardian newspaper used to run a pre-feature advert at cinemas called ‘Points Of View’ – a black-and-white film of a skinhead seemingly about to mug a businessman. (Google it now, we’ll wait…) “An event, viewed from one point of view, gives one impression,” intones the sonorous voiceover. “Seen from another point of view it gives quite a different impression; but it’s only when you see the whole picture you can fully understand what’s going on.” It certainly made quite the impression on director Joe Wright.
“I remember seeing that when I was very young, and it really kind of blew my mind,” he enthuses when we chat in New York in early March. “In a way, I think that [The Woman In The Window] is my continued response to that kind of questioning of our perspectives on reality. And, in a way, Atonement was the same thing, so it’s something that I seem to come back to again and again.”
, based on Ian McEwan’s book, famously centred on a little girl’s misunderstanding powering an accusation that irrevocably changes/destroys lives. (also adapted from a bestseller) explores similar repercussions born from misconstruction as troubled agoraphobic New Yorker, Anna –
