The cinematographer behind Eternal Sunshine of the Spotless Mind turned director with the Oscar-nominated The Betrayal and the Lee Miller portrait Lee. Her frames think in light first.
Both prioritize sensory experience over plot, light, skin, proximity, cinema as the language of bodies in relation.
Shared obsession with subjective time and fragmented memory; the camera as an instrument of internal states, not external events.
Both emerged from documentary and cinematography into feature filmmaking, visual language hardened into authorial vision.
Both make small-scale films about intimacy and loneliness that feel bigger than their budgets, the everyday rendered luminous.