Or maybe it's a lot like every other Zoe Kazan profile of late. But probably not, because I make the (admittedly somewhat tenuous) argument that Kazan, now onscreen in The Exploding Girl and onstage in A Behanding in Spokane, is an aestheticized Face of Our Times. From the cover story in this week's New York Press:
Kazan’s diversity of projects helps her maintain artistic cred, but she also remains free of industrial stigmas by the sheer virtue of her cuteness. Bear with me here: In Off-White Hollywood: American Culture and Ethnic Female Stardom, feminist scholar Diane Negra discusses the nascent career of Shirley Temple and her peers, identifying cuteness as “an image of juvenile vitality that displaced the specter of the wan, malnourished child of the Depression.” Perhaps this offers the connective tissue between Kazan’s various performances: She’s an adorable refuge from a contemporary climate marked by innumerable problems. Her characters tend to absorb other people’s issues.
Read the entire article here.
Here's the trailer for The Exploding Girl: