Welcome to Keira Knightley Fan, an up-to-date and in-depth fan resource for the talented actress. Serving fans since 2004, we are now the longest running fansite dedicated to Keira. Nominated for two Academy Awards, Keira is recogised worldwide for her memorable big screen roles that include 'Pride & Prejudice', 'Atonement', 'The Imitation Game' and Disney's 'Pirates of the Caribbean' franchise. Our aim is to bring you all the latest news, articles, and photos relating to Keira's career, and strive to remain 100% gossip-and-paparazzi-free. Thank you for visiting!.
 
latest posts
  • Cannes: Keira Knightley's 'Misbehaviour' Sells Wide
  • Chanel Cruise 2020 Collection Presentation
  • BUILD Series Presents 'The Aftermath'
  • 'The Aftermath' Press Conference
  • schedule
  • November 22, 2018 'Berlin, I Love You' German Theatrical Release
  • December 11, 2018 'Colette' US Blu-ray Release
  • January 11, 2019 'Colette' UK Theatrical Release
  • March 1, 2019 'The Aftermath' UK Theatrical Release
  • ‘Official Secrets’ Sundance Review

    The premiere of Official Secrets took place in Park City, Utah yesterday at the Sundance Film Festival. Keira was of course last here back in 2014, promoting Laggies, but she was unable to attend the screening of the film yesterday – instead joining by video link.

    THE HOLLYWOOD REPORTER – While railing at TV news coverage of Tony Blair’s double-speak concerning his position on the George W. Bush government’s intention to invade Iraq in 2003, British intelligence translator Katharine Gun, played with the requisite impassioned principles by Keira Knightley, fumes, “Just because you’re the prime minister doesn’t mean you get to make up your own facts.” With administrations on both sides of the Atlantic having lost the trust of their people, that line got a huge laugh at the Sundance premiere of Gavin Hood’s political thriller, Official Secrets.

    This is the kind of recent history lesson that tends these days to acquire more texture as a limited-series cable drama. Hood (Eye in the Sky), his co-screenwriters Sara and Gregory Bernstein and a seasoned ensemble of Brit stage and screen pros deliver a straightforward, solidly old-fashioned slice of real-life espionage, journalistic and legal intrigue that gets the job done in engrossing, clear-eyed fashion even if it lacks much in the way of stylistic verve. The cast alone should guarantee an audience, though how eager Brits or Americans will be to revisit this still-raw episode remains to be seen. Especially so soon after the thematically related Vice.

    The story of an ordinary woman whose moral backbone gave her the courage to act in a potentially ruinous manner, the film is also a cautionary tale that continues to resonate today — about governments getting mixed up in international conflicts for the wrong reasons and with unrealistic forecasts. The elevated death toll on both sides speaks for itself. Likewise, the failure ever to find conclusive evidence of weapons of mass destruction or of ties between Iraqi dictator Saddam Hussein and al-Qaeda — the stated impetus for rushing headlong into the global blunder.

    If the densely detailed two-hour drama arrives at a somewhat anticlimactic conclusion in the courtroom — a fact underlined by handing the soft coda to secondary characters — then there’s the rub of sticking to the truth.

    Gun has been working for two years at the Government Communications Headquarters (GCHQ), not far from her home in Cheltenham, England, when an email lands in her inbox from a division chief at the U.S. National Security Agency, outlining shady tactics to be employed in the push to go to war with Iraq and urging U.K. cooperation. The communication authorizes an eavesdropping plan on delegates from member countries of the United Nations Security Council, in particular those considered swing votes in the resolution necessary to launch the invasion. The language of the email and its blackmail objective are an unequivocal violation of global diplomacy. Gun secretly copies the classified document and passes it to a former colleague now involved in anti-war activism.

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    ‘Colette’ Paris Premiere

    Keira made her first appearance of the year last night at the Paris premiere of Colette, held at the Cinéma Gaumont Champs-Élysées. For our European visitors, the film debuts across the UK, Ireland, France, and Belgium this week and next. If you decide to check in out in theaters, we hope you enjoy!

    BBC Radio 5 Interview

    The Guardian: Keira Knightley shines in gritty, glamorous biopic ‘Colette’

    THE GUARDIAN – Keira Knightley delivers a playfully sly, subtly nuanced performance in director and co-writer Wash Westmoreland’s biographical drama about the titular French writer and performer. Focusing on Colette’s early power struggles with her egotistical husband (Dominic West) and her challenging of traditional gender boundaries, it’s an empowering and entertaining tale of a woman finding her own voice in a society in flux. Beautifully shot by cinematographer Giles Nuttgens, with production designs inspired by the French films of German director Max Ophüls, Colette convincingly conjures a late-19th/early-20th century milieu, to which it adds a thoroughly modern sensibility.

    In late-1880s rural Burgundy, vagabond spirit and self-proclaimed “country girl” Sidonie-Gabrielle Colette is courted by literary entrepreneur Henri Gauthier-Villars, marriage to whom opens the door to an exciting new world in Paris. Initially dazzled by his cosmopolitan lifestyle, our heroine soon becomes aware that her husband’s expenditure exceeds both his talent and his fidelity. Fortunes change, however, when her semi-autobiographical tales of a young girl’s journey to maturity (penned at her husband’s instruction, sometimes under lock and key) become a popular sensation.

    Published under Gauthier-Villars’ popular nom-de-plume “Willy” (he calls it “a brand”), the ghost-written Claudine à l’École strikes a chord, particularly with young female readers. A series of novels, stage productions, and trend-setting “Claudine” haircuts and accoutrements follow, making Willy and Colette (as she is now known) the toast of the town, while still maintaining the pretence of his authorship. But Colette’s burgeoning relationships with socialite belle Georgie (a theatrically accented Eleanor Tomlinson) and later with the stereotype-defying Missy (Denise Gough, owning the role) encourage her to redefine herself, taking back control of – and credit for – her life and work.

    Leeds-born Westmoreland began working on Colette nearly 20 years ago with Richard Glatzer, the longtime partner with whom he made a string of movies including the wonderful coming-of-age gem Quinceañera and the moving drama Still Alice, for which Julianne Moore won a best actress Oscar. After Glatzer died in 2015, Westmoreland continued work on the script with Rebecca Lenkiewicz, the British playwright whose impressive screenwriting credits include Pawel Pawlikowski’s Ida and Sebastián Lelio’s Disobedience. Between them, the trio have concocted a screenplay that gives each key character a distinctive register; from the hilariously pompous witticisms of Willy, a role West attacks with tangible relish, to the proud impertinence of Missy, a trailblazer who proves that women can wear the trousers, even when the law says otherwise.

    At the centre of it all is Colette, whose charismatic personality we watch grow from wide-eyed wonder to defiant self-determination. “On my bad days, I feel like I can’t find myself,” explained Moore’s Alzheimer’s-afflicted linguistics professor in Still Alice, and that line came back to me as I watched Knightley’s writer trying to find her place in a world in which her own identity has been effectively stolen from her. “No one can take away who you are,” Colette’s mother (Fiona Shaw, excellent) reassures her distraught daughter, but Willy seems to be intent upon doing just that – subsuming her identity under his own overpowering ego.

    On some levels, Colette bears thematic comparison to such recent releases as Björn Runge’s The Wife, in which Glenn Close’s character buries her talent for the sake of her celebrated-writer husband’s career, or Haifaa al-Mansour’s Mary Shelley, in which Elle Fanning’s author is overshadowed by her more celebrated poet partner. But here, the focus is on the creation of identity itself, and what it means to be the author of one’s own destiny. Just as Glatzer and Westmoreland’s 2013 film The Last of Robin Hood scratched away at the scabby subject of celebrity, so Colette cleverly unpacks the idea of life as performance, raising pertinent questions about the control of a public image, and its impact on private lives. Particularly intriguing are the scenes in which Colette’s travails become the stuff of pantomime in the form of increasingly provocative theatrical productions, staged with a hint of carnivalesque chaos and evoking the spirit of Fellini.

    In her best role since Saul Dibb’s 2008 period drama The Duchess, Knightley brings Colette to life with a performance that blends grit with glamour in seemingly effortless fashion. Typically eye-catching costume design by Andrea Flesch (who did such striking work on Peter Strickland’s The Duke of Burgundy) add to the film’s appeal, as does the astute casting of supporting players Rebecca Root and Jake Graf, and the sharp use of locations in the UK and Hungary, which double handsomely for France.

    In ‘Colette’, Keira Knightley Finds The “Utterly Inspiring” Female Character She’s Been Looking For

    DEADLINE – After earning two Oscar nominations for period work—in Pride & Prejudice and The Imitation Game—Keira Knightley dons a corset once more for Colette, directed by Wash Westmoreland and written by Rebecca Lenkiewicz, Westmoreland, and his late husband Richard Glatzer. Knightley plays Sidonie-Gabrielle Colette, a pillar of French literature whose husband greedily took credit for her own brilliant works in the early days of her career. And Colette tells a powerful story about female creativity as the film industry examines its own role in diminishing women’s voices.

    What drew you to Colette? How did you get involved?

    My agent sent me the script and I loved it. That was it, really. I knew a little bit of her writing, but I didn’t really know anything about her life, and definitely nothing about the first marriage. I was just sort of amazed that it was all true, and then spoke to Wash in a FaceTime conversation, as his phone was dying. He was in China, and I was in London, and after about 10 minutes, it was just perfectly obvious that he was great, and I really wanted to be a part of it. I think he’d been trying to make the film for about 17 years. He just knows the character inside out.

    Did you see the parallels with today?

    It amazed me how current it was, what it’s talking about with gender politics and sexual politics and feminism. It felt like it was everything that was being talked about at that point, and everything that I was interested in. I was really excited that you could take something that was 100 years ago, and yet it still feels so alive. Even the celebrity couple aspect of it, the fact that that was very much happening over 100 years ago, I find interesting. I’ve always loved history, making the past live and breathe again, and of course what you realize is that cultures change, but emotionally, as human beings, we don’t change that much. I think that you can make quite overt political points in period pieces where you don’t feel like you’re whacking somebody over the head with it. They can be subtle and hidden in a way that I really like.

    What did Wash convey to you, early on, in terms of his take on Colette?

    The main thing that we were talking about the whole time was just the span of time, and how we marked her becoming herself. At the beginning of the film, I think she’s about 19, and at the end of the film, she’s 34. So, we talked lot about what it feels like to physically become yourself, to be comfortable in your own skin, to find the person that you want to be. We actually used Coal Miner’s Daughter with Sissy Spacek as a reference because I thought she gave between about 13 and 40 in that. The physicality in that is just amazing, so he said, “Kind of do that, but much more subtle.” [Laughs] So, we stuck to that, again using the source material, the Claudines, as an inspiration. The wonderful thing about playing a writer is you literally have her words to go by.

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    ‘The Aftermath’ UK Trailer and Poster

    A new trailer for the UK release of The Aftermath has been unveiled, and if you haven’t already, please do take a look. There’s plenty of new scenes in the trailer and the way it has been put together is really beautiful. In addition, I’ve also added a new poster for the film to the gallery, which you can view here.

    THE AFTERMATH is set in postwar Germany in 1946. Rachael Morgan (Keira Knightley) arrives in the ruins of Hamburg in the bitter winter, to be reunited with her husband Lewis (Jason Clarke), a British colonel charged with rebuilding the shattered city. But as they set off for their new home, Rachael is stunned to discover that Lewis has made an unexpected decision: They will be sharing the grand house with its previous owners, a German widower (Alexander Skarsgård) and his troubled daughter. In this charged atmosphere, enmity and grief give way to passion and betrayal.

    Greg Kinnear & Lesley Manville To Play Bob & Dolores Hope In Keira Knightley Miss World Movie

    DEADLINE – Greg Kinnear (Little Miss Sunshine), Lesley Manville (Phantom Thread), Keeley Hawes (Bodyguard), Rhys Ifans (Notting Hill) and Phyllis Logan (Downton Abbey) are joining leads Keira Knightley, Gugu Mbatha Raw and Jessie Buckley in dramedy Misbehaviour.

    Kinnear and Manville will play Bob and Dolores Hope in the film, which is based on the true story of the 1970 Miss World contest — hosted by comedian Hope — and its disruption by the newly founded Women’s Liberation Movement. Shoot is underway today in London.

    Philippa Lowthorpe (Three Girls) directs from an original script written by Rebecca Frayn (The Lady) with revisions by Gaby Chiappe (Their Finest). The creative team includes production designer, Cristina Casali (The Death Of Stalin); make up and hair designer, Jill Sweeney (The Theory Of Everything); costume designer, Charlotte Walter (The Guernsey Literary And Potato Peel Society); director of photography, Zac Nicholson (The Death of Stalin); and editor, Una Ni Dhonghaile (Three Girls).

    Claiming that beauty competitions demeaned women, the newly-formed Women’s Liberation Movement achieved fame by invading the stage and disrupting the live broadcast of the 1970 competition, then at the height of its popularity. When the show resumed, the result caused uproar: the winner was not the Swedish favourite but Miss Grenada – the first black woman to be crowned Miss World.

    The film is being produced by Suzanne Mackie (The Crown) and by Sarah-Jane Wheale. Executive producers are Andy Harries and Rebecca Frayn for Left Bank; Cameron McCracken and Jenny Borgars for Pathé; Rose Garnett for BBC Films, Natascha Wharton for the BFI; and Andrea Scarso for Ingenious. Pathé reps sales.

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