LEE (2024)


Remove lens cap………..

This is the story of famed photographer, Lee Smith who went from a successful career as a model to a photographer who took some of the most powerful and vital pictures for Vogue during World War 2.
We are taken through Smith’s transition from model and bohemian artist to her need to help wth the war effort through her striking photography.

Photography has always been one of my one passions, the power and impact of the still image can never be overstated. The photographs Lee captured at the end of WW2 are a poignant. testament to the brutality, the fragility and the resilience of life. These images serve not only to remind us but as enduring records of our shared history. Yet, despite the countless times we are confronted with these reflections of our past, we often turn a blind eye, ignoring their importance.
Lest We Forget.
Nearly 80 years has passed since the end of World War 2 and still, atrocities continue. What is wrong with us? Are we so blind or we are predisposed to destruction, killing, savagery and unspeakable cruelty.

Where is our collective empathy? We feel it when we see these haunting images of violence and suffering, and that is why we need stories like Lee’s. 

The Bohemian years.
Kate Winslet as Lee Smith in Lee
The Bohemian years.
Kate Winslet as Lee Smith in Lee

What drives someone to willingly put themselves in harm’s way to capture a fleeting moment? For Lee Smith, it was a desire to be useful. A gifted photographer, who was living in London in 1945, and felt compelled to contribute in some meaningful way. Determined to make a difference, she approached Vogue with a proposal: to travel to the front lines and document the war’s unfolding events through her lens. As expected, the idea was initially dismissed—it was a man’s world, and assignments like this rarely went to women. But perseverance can achieve remarkable things, and Lee refused to back down. Eventually, her persistence paid off, and she made her way to Germany, where she captured on film the final days of World War II.

Alex Garland’s recent Civil War is also about reportage, with the photographers being non-biased, non-partisan, simply determined to capture an honest record of the events unfolding. 

War photographers are just that. Witnesses.
They venture into places most people would avoid at all costs, even soldiers if given a choice, to take pictures, to remember, to make a record, to bear witness.

Picture this.
Kate Winslet as Lee Smith in Lee
Picture this.
Kate Winslet as Lee Smith in Lee

Kate Winslet is truly a national treasure and it seems another Oscar nod could be on the horizon for the great actress. She is consistently brilliant, always bringing believability and honesty to her work. She never fails to imbue her characters with three dimensions, a true humanity that always feels layered and lived in.

The rest of the cast are, without exception, fabulous. Alexander Skarsgard shines as Roland, Lee’s great love, while Josh O’ Connor delivers a gentle and compelling performance as Antony who interviews Lee in her later years. Andy Samberg takes on the role of  David Scherman, Lee’s fellow photographer and friend,  and brings his usual charm to the role. Marion Cotillard as her friend, Solange with grace and elegance and the rising French star, Noemie Merlant impresses as Nusch Eluard. Special mentions go to Samuel Barnett and Andrea Riseborough as Audrey Withers and Cecil Beaton of Vogue London respectively, who both have a blast with their character work.

The film is based on a 1995 biography, The Lives of Lee Miller and the mighty Alexandre Desplat is on soundtrack duties, again delivering a beautiful score.

The director, Ellen Kuras makes her feature film debut with confidence and clarity. She has been in the film business for a while primarily working as a cinematographer for the likes of Spike Lee (on He Got Game, Summer of Sam and Bamboozled), Ted Demme (on Blow), Jim Jarmusch (on Coffee and Cigarettes) and Michel Gondry (on both Eternal Sunshine of the Spotless Mind and Be Kind Rewind). She had previously worked with Kate Winslet on Eternal Sunshine and long term associations can lead to great trust and a shorthand that have the potential to create special works.

The film took 8 years to make. Years ago Ellen Kuras read a book about Lee Smith and sent it to Winslet. Sometime later when Winslet started developing a movie project about Smith she asked Kuras to direct it and now the world gets to know and see who the talented and brave Lee Smith was.
And so they should.
This is an important film about standing up for something honourable.
We all need a bit of this in our lives.

Replace lens cap…..

See it now at a cinema near you.

116 Minutes

THE ZONE OF INTEREST (2023)


The Zone of Interest or Interessengebiet, is a term used to refer to the restricted zone around the Auschwitz Nazi death camp and this film focuses on the domestic life of the camp Commandant, Rudolph Höss imbued with a matter of factness and efficiency by Christian Friedel, his wife Hedwig played with entitlement and fastidiousness by the great Sandra Hüller and their children. Their home is within the Zone and thus we get to hear the sounds from the camp but never see the source of the noises. This makes it all the more terrifying. What you don’t see, what you hear and see in the background through the family’s windows, the smoke coming from the chimneys, the prisoners walking around delivering goods to the house etc.

Based on a book by the late Martin Amis, Jonathan Glazer’s fourth feature film in 23 years, the others being, Sexy Beast, Birth and Under the Skin. Here Glazer eschews the main thrust of the novel which is a potential affair between an Officer and the wife of Paul Doll (who is a fictionalised version of Rudolph Höss) and instead makes the film all about the home life of the German family Höss. By doing this the power of the film is far more striking. Less conventional and much more frightening.


Let it be said, this is a difficult film to watch, there is an undercurrent of terror that is exacerbated by the ordinariness of it all, the banality of evil and the incredible soundtrack and soundscapes by Mica Levi. The bass notes are truly unsettling and nauseating and add to make it as tragic and alarming as a film like this should be. All the horror is off-screen.

There will not be a film like this anytime soon. Halfway through the film, I was reminded of Joshua Oppenheimer’s horrific documentary about the killing fields of Myanmar, The Act of Killing.
Sometimes art should be uncomfortable. It reflects our condition and it is there to teach us, and remind us. It is the point of our stories and drama. If we don’t learn from history what chance do we have as a species. Even comedies can show us something about the human condition. 

Every story is an opportunity to share something.


After watching The Zone of Interest I sought out The Conference (Die Wannseekonferenz) (2022) about the meeting of Nazi officials to discuss the final solution, which is another example of the matter-of-factness of it all to them and The Wave (Die Welle) (2008) based on a real-life social experiment that took place in 1967 by a high school history teacher, Ron Jones to show his students how the Germans could have accepted the rules and actions of Nazis by setting up a pretend social movement to demonstrate how fascism could take root anywhere. 

Both films are excellent and expand on the themes and messages of Glazer’s film.

The appeal of groups and the idea of strength in numbers is an old one that is used around the world for many nefarious and egotistical reasons.
I would love to think, like the UK rapper, JC001 did in 1993: 
“Fascists offend…Never Again, Ignorance Ascend…Never again” and “No more Nuremberg, not now nor never again” but have you seen the world recently?
A film like this one, which will unfortunately not be seen by all, needs to be out there.
Fortunately, its mere existence will cause ripples which can turn into waves.


The Zone of Interest has been nominated for 5 Oscars including Best Picture, Best Director, Best International Feature Film, Best Adapted Screenplay and Best Sound (which it should win for, the soundscapes are bone-chilling).

This is an important film that never preaches or tells you how to feel, it allows you to make up your mind and you probably have to be socio or psychopathic to not be moved by it in some way.

Just as I thought A24 may have jumped the shark into conventional territory (see The Iron Claw) they prove themselves still worthy without yelling about it by distributing and being rewarded for this staggeringly quiet and powerful film.

The Zone of Interest is out in Australia on Thursday February 22nd.
See it before it makes noise at the Oscars.

105 Minutes