Liam Payne, Zayn Malik’s Complicated Relationship After One Direction
Liam Payne and Zayn Malik had some ups and downs in the public eye following their days in One Direction
Read more >> : Cick here
 |
 |
 |
 |
 |
 |
 |
The rise of Ruth Wilson! Tatler hails the brightest â and bravest â actress of her generation as she celebrates her birthday
In a blazing succession of mesmerising roles, Ruth Wilson has revealed herself as a defining talent of British film, theatre and television. The actress told Sarah Crompton about taking risks in Tatlerâ??s October 2023 issue
Click Here to read in detail
Itâs perhaps why, in recent years, she has embraced a role thatâs more at the wheel. She is, for instance, executive producer of The Woman in the Wall. The project reunited her with Harry Wootliff, who also directed True Things, the first film Wilson made with her own production company, Lady Lazarus. The book on which the film was based was brought to her attention by Jude Law, with whom she was starring in Anna Christie at the Donmar Warehouse at the time. It fitted with Wilsonâs aim of using her industry clout to get more complex stories made. She was also executive producer on the BBCâs Mrs Wilson, which was based on the story of Wilsonâs own grandmother, who discovered after her husbandâs death that he was a multiple bigamist.
Green party: At this yearâs Serpentine Summer Party, Wilson, accompanied by Erdem MoralıoÄlu, wore this ruffled green top from the designerâs AW23 collection
Luc BraquetPleasingly for Wilson, The Woman in the Wall âdoesnât fit into a box. Those things are always more interesting to do because youâre trying to find something new.â In the six-part series, which she describes as a blend of âcrime thriller, Gothic horror and psychological horrorâ, Wilson plays the distraught Lorna, who has never recovered from being sent to one of the Magdalene Laundries when pregnant at the age of 15. These barbaric institutions, mostly run by the Roman Catholic Church, effectively became punishment centres for those deemed to be âfallen womenâ, mother-and-baby homes where babies were taken away for forced adoption, or worse, allowed to die. The last only closed in 1996; despite a formal state apology in 2013, campaigns for investigation and compensation are still going on. So recent is the scandal that âa lot of the Irish actors [in the series] have some sort of personal connection to these storiesâ, Wilson reflects. She did a âlittle trip out to the West, to Tuam [in Galway], the middle of nowhere, where they recently found all the remains. Itâs now a housing estate, but thereâs a shrine there which all these women have dedicated for all these babies that were lost.â
The opening scene is classic Wilson. We see Lorna lying in the road, apparently lifeless, surrounded by a herd of cows, the camera lingering on her pale, troubled face. Then she wakes with a start, and we realise she has no idea where she is. Itâs intriguing and uncomfortable, and Wilsonâs characterisation adds to her gallery of traumatised, complicated women who seem to be missing layers of skin.
