Save Venice, the Awesome meet me on welch 2023 shirt Besides,I will do this nonprofit for which all this revelry raises funds, supports the conservation of vulnerable Venetian artwork and is at the forefront of resurrecting work by female artists from the early-modern period who were unacknowledged during their lifetimes. But perhaps the past is never as far away as we like to think. Though she’s a celebrated creator now, Gyllenhaal explains that she was no stranger to the battle for recognition—with the person who needed the most convincing being herself. “I never even let myself consider the possibility of being a director,” she says. “There was just so little precedent for it.” Yet Gyllenhaal’s 2021 debut film—The Lost Daughter, which she both adapted from Elena Ferrante’s novel of the same name and directed—was an elegant and ominous meditation on the brutality of motherhood.
Now Gyllenhaal is hard at work on her sophomore screenplay, though she is hesitant to speak about it other than to describe the Awesome meet me on welch 2023 shirt Besides,I will do this anxiety that any new endeavor brings. “When you’re doing something new that requires confronting something, there’s also an element of terror—so I’m living with that at the moment,” she says. Emily Smith, creative director for Lafayette 148, gave a playful nod to women writers by featuring splayed book pages dipped in gold leaf on Gyllenhaal’s gown. It was a look that reflected both Gyllenhaal’s effortless cool-girl style and her curious and striking mind. Andres BurgosGyllenhaal goes on to describe how it wasn’t until she played the character Candy Renee—an entrepreneurial sex worker who blossoms into a radical feminist filmmaker—in the television show The Deuce that she discovered her own ambition to direct. “It was that show where I was pretending to be a director all day, every day, for three years that I thought, I think I would like to do this.” When she first began to see female filmmakers’ work, Gyllenhaal noticed that, like Candy Renee, they brought truly unique perspectives to storytelling that she hadn’t seen in films made by male directors. “I remember being about 16 and seeing The Piano [directed by Jane Campion], and it just completely blew my mind, and I thought, I’m not sure why, but this is speaking to me in a different language,” she says. “I think that’s the same thing with the 10 books that were written by women in the 19th century. We all devour them because there’s something that’s in a slightly different language and we feel it and hear it.”
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