Biographie

Justin Kurzel

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No opening credits, instead of them a brief text prologue, which makes his films a bit more close to the literature.
Frequently casts Michael Fassbender and Marion Cotillard in the main roles.
A shots of light sliping through the churches' windows.
Usually explores the themes of violence, mind and sanity.
Long wide shots of mesmerizing landscapes.

Despite his interest in traumatized and emotionally damaged characters and dark, almost evil themes, his own favorite films are comedies.
Does not like computer graphics in movies and purposely avoided them when he made all of his films, especially Assassin's Creed (2016).
He was thirty-seven years old when he directed his first feature film.
Was nominated for Cannes Film Festival's Palme d'Or with his second feature, Macbeth (2015). His first feature, Snowtown (2011), was screened at Cannes' Critics Week in 2011 and won the jury prize.
Before directing Macbeth (2015), he worked as a designer of a stage production of the play in which his wife played Lady Macbeth.

[press conference for Nitram (2021) at the 2021 Cannes Film Festival] I live in Tasmania - I have for the last four years - it's the most beautiful place in the world, it's why we moved there, to bring up our children, and I met my wife, Essie, who plays Helen in the film, the year the Port Arthur shootings happened in 1996. So I'm extremely aware. When Shaun [Shaun Grant] sent me the script, I took a very, very, very deep breath. But I saw something in the script and in the way he was trying to tell it and what he was trying to say that I found incredibly moving and compelling and quite shocking in regards to the step-by-step dismantling of this character. But also this moment in the film where it sort of crystallises - for me what the film is about - when this man walks into a gun store, at probably their most dangerous, and is able to buy an absurd amount of weapons without a licence. There was something about this scene; for the first time I really felt the importance of what gun reform is. It was something that I walked into very gently and we still are. It's a very, very deep wound in Tasmania and also Australia and we feel it every day as we walk with this film.