![]() When Paquin won the Academy Award for Best Supporting Actress for her work in the 1993 film The Piano, she became the second youngest person in history to win an Oscar. By playing on the public legacy of her own precocious childhood, Paquin’s performance forms a fascinating lens to view Lisa’s journey from childishness to maturity. Margaret, which celebrates its tenth anniversary this year after being released in 2011 following a six-year delay, focuses on Lisa’s journey to something resembling maturity… or as director Kenneth Lonergan calls it, to “discovering the rest of the world exists.” After Lisa is involved in a traumatic traffic accident that results in a pedestrian dying in her arms, she must navigate her own guilt while dealing with familiar teenage woes, from fighting with her mother to losing her virginity.Įnlivening this role is Anna Paquin in a career-best performance, centring this tricky, self-centred character within the film’s vast urban sprawl. Such is the brilliance of the film, in which the epic and the everyday are packaged into the body of a five-foot-four girl – Anna Paquin – and a performance of masterful proportions. This outburst, screamed at a grieving adult two-thirds of the way into Margaret, is neatly reflective of both a relatable “nobody understands me!” teenager and the stark arrogance of a girl who has never once apologised for her behaviour. I can’t help it if my mother’s an actress. “I’m not fucking dramatising anything! I was there, and you weren’t, and if I happen to express myself a little hyperbolically, Emily, that’s just the way I talk. ![]() To coincide with the 10th anniversary of Margaret, Steph Green looks back at the inspired casting of Anna Paquin ![]() ![]() I n Performance Review, writers go deep on the performances that continue to obsess or fascinate them years after a film's release. ![]()
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