professor-student relationship spirals into personal struggle: Miller and protégée grapple with their hidden demons
"First and foremost, allow me to introduce you to Miller's Girl. This baby was my idea, spawned from a deep admiration for my pal Julianne, an actress of exceptional ability," Jade Halley Bartlett confides. "This project is a testament to her, a young woman who continues to teach me valuable lessons."
Originally conceived as a play, Miller's Girl was shot with a two-act format: "Act 1 serves as a steamy love story, while Act 2 transforms into a nerve-wracking thriller."
Diving headfirst into a familiar tale of forbidden desire in an educational setting, Bartlett dares you to look closer. "The setup might seem like a routine high school romance, but this film is here to pick apart those tired tropes and put them back together – to portray the murky waters between love and obsession, the sophistry of villains and victims, the clash of youth and maturity. It's a film that invites difficulty, shining a light on the gray areas rather than limiting us to a cookie-cutter black-and-white world. It doesn't shy away from uncomfortable questions, especially when there's no such thing as the 'textbook good guy'."
Describing Miller's Girl as a dark Southern Gothic fairy tale, Bartlett adds, "This is a world where the sinister lurks just below the surface, waiting to be discovered. The movie's allure masks its toxicity, like a poisoned apple that tastes sweet before it's too late."
On the screen emerges a budding writer (Jenna Ortega) who embarks on a thrilling, soul-searching odyssey when her teacher (Martin Freeman) assigns a captivating project that quickly entangles them both in an intricate web of emotions. As the lines between mentor and protégé become entangled, they must grapple with their darkest secrets and defend their individual values and the things they hold most dear.
Q & A with Writer-Director Jade Halley Bartlett
Hailing from the bustling streets of Memphis, Tennessee, Jade Halley Bartlett has made a name for herself as a prolific screenwriter, director, and actress. Two of her scripts made consecutive appearances on The Black List: Miller's Girl (2016) and MAD (2017, followed by her employment by Marvel to write the screenplay for Doctor Strange and the Multiverse of Madness). Jade's directorial debut of her first feature film, Miller's Girl, premiered at the 2024 Palm Springs Film Festival. Alongside creative partner Mary-Margaret Kunze, she heads up Biscuit Belly Productions.
With this being your directorial debut, did you draw any inspiration from other films or filmmakers?
Indeed, I did! I found inspiration in Agnieszka Holland's The Secret Garden (1993), as well as Mike Nichols' Who's Afraid of Virginia Woolf?, and every flick by the Czech duo Park Chan-wook and Chung hoon-Chung, particularly The Handmaiden and Stoker – all of which I consider to be twisted Southern Gothic fairy tales. That was my objective with Miller's Girl – to craft a dark Southern Gothic tale.
What is the heart of the story and the main themes running through the film?
Miller's Girl is a story that dissects the complexities between love, morality, and power. It is a chance to reflect on the intricacies of human relationships and power dynamics, as well as the nuanced lines that blur the villain and victim. Too often, we try to simplify things by neatly categorizing people as 'innocent victims' or 'malevolent villains.' But life is not so simple – not by a long shot. That is what this film seeks to portray through its fantastical Southern Gothic lens.
Your film has a distinct Southern Gothic vibe, which I assume stems from your Tennessee roots. How did that influence the look and feel of the film?
I was raised in two Tennessee worlds: East and West. I am the sole child of brilliant and bookish parents who introduced me to Stephen King at the tender age of six. Growing up in East Tennessee, with its dense forests, haunted churches, and the ethereal beauty of the hollers, I grew a love for the macabre, the grotesque, and the haunted. Later, we moved to Memphis, a city with its mansion-lined streets, murky rivers, and poplar trees – a place that has a peculiar way of driving people mad. I found the whole thing incredibly romantic. This film serves as a love letter to Tennessee and the horrors that fester there.
Did you always envision yourself directing this project when you were initially writing the script?
Not at all, no! But let's be real – I was already directing the movie when I wrote it. After the script made The Black List in 2016, my producing partner Mary-Margaret and I were deep in a casting session for the main character, Cairo, and the actor we had originally chosen struggled with a critical scene. In that moment, I stepped in to offer directions. It felt natural and intuitive – and it worked like a charm. That casting session essentially sealed the deal for me, and when we finally acquired funding, I knew I was meant to direct this film.
What changed from the script stage to production, once you found yourself on set?
Surprisingly, not much. We had taken our time developing the script, so by the time we went into production, it was already in great shape.
Casting can make or break a film, especially for a director's debut like yours. How did you find the perfect people for the roles of Jenna Ortega and Martin Freeman?
To put it plainly, landing Martin Freeman was key. The material was daunting, intense, but when Freeman and I spoke, I could feel his understanding of the script's complexities, and his commitment to engage with those challenges. In scene work, Freeman is a master – a true craftsman who breathes life into every character he portrays. He managed to create a tantalizingly tragic figure in Jonathan, a man who at once stirs love and pity.
Years later, when we received the funding and began the casting process in earnest, Mary-Margaret and I enlisted the help of casting directors and pored through hundreds, if not thousands, of audition tapes. There were spectacular talents aplenty, but when we came across Jenna and our main antagonist, Gideon Adlon, something clicked. Their on-screen chemistry was electric, and we couldn't imagine anyone else playing the roles. They captured something profound in that audition, a spark that made this project come alive for me.
** What's one question that audiences should ask themselves following the film, or one concept they should consider when discussing the film with others?**
This story unfolds as a classic tale of forbidden love within a school setting, but be wary – appearances can be deceiving! I invite the audience to look beyond the surface-level familiarity, to grapple with the ambiguity inherent in these situations and the messy, complicated reality of human relationships and power dynamics."
- In discussing the film, one concept audiences may find relevant is the exploration of the complexities between love, morality, and power, as well as the nuanced lines that often blur the villain and victim.
- When reflecting on the film, viewers might consider the role that lifestyle (specifically, sustainable living practices) plays in the home-and-garden scenes of the movie, as such elements are incorporated to reinforce the dark Southern Gothic atmosphere. Additionally, the film's entertainment value extends beyond movies-and-TV genres, offering a unique perspective on the human condition and thought-provoking themes.
