In the early 90's, "The Lord of the Rings" It was just that strange cartoon from Ralph Foshsi, the most famous Kate was "heroin chic" supermodel Kate Moss, and Kiwi director Peter Acksecson was really on the Gorges radar thanks to his sprayers, low-budget horror comedy. It all began to change with the arrival of "Heavenly Creatures" in 1994, a fantastic drama for a sensational but mostly forgotten crime in real life.

Distributed internationally under the Miramax banner (with "in the world" Master Master Don Lafontaine Doing your job on the trailer), "Heavenly Creatures" was Acksecson's first movie you can actually take your mother to watch it at the movies. He also introduced the world of two young unknown actresses, Kate Winslet and Melanie Lysin, playing a couple of students whose withdrawal in an imaginary world leads to obsession, madness and murder.

"Heavenly Creatures" was a small sensation that earned decent money on limited publication and received positive notifications from critics, later showing lists with the final year. The film also attracted the attention of the festivals and the awards, with Winslet receiving most of his recognition for her attractive turnaround as Juluiette Hulme, the more energetic half of the killer duo. Despite the buzzing, "Heavenly Creatures" were neglected for most great awards, perhaps because he had an accident to come out in one of the strongest years for the cinema in recent decades. (He received an Oscar nomination for the best original scenario.)

The success of the film marked Winslet as the main talent for the future and she earned her first nomination for the Academy Award with the next appearance in Ang Lee's "feeling and sensitivity". For Acksexone, "Heavenly Creatures" paved the way to the "Lord of the Rings" trilogy. Veta Digital was created to cope with the special effects, and the film followed his debut in Hollywood, "The Fresters", eventually allowing him to get his version of the classic Jrr Tolkien novel on the screen. Linsey's subsequent career was less spectacular, but (as my colleague BJ Collangelo writes so brilliant) She is still the rules ******.

However, for such a movie about making starves, "Heavenly Creatures" is almost impossible to find it today. Not available for purchasing or renting streaming services, and there are only a few older DVD copies floating for online sales. Let's take a closer look at what the viewers are missing.

Unusual open editing introduces us to life in Christchurch, New Zealand, in 1952. This is where we meet Pauline Parker (Melanie Lysini), a miracle and socially tricky 14-year-old girl from the background of the working class. She does not have many friends at school, but that changes with the arrival of Ietuliet Hulme (Kate Winslet), a picturesque 13-year-old from England, who has just moved to the city with her family. The couple ties to their Loveub's fantasy, Italian-American tenor Mario Lanza and debilitating diseases as they grow.

Pauline has an awkward relationship with her mother, Honora (Sarah Piers) and spends most of her time with the good-sided Hulmes, who greet her in their home as another daughter. Girls are relatives ghosts and create a world -renowned fantasy to try their hopes and dreams, but it turns into refuge when Juluiette's parents announce a long journey to England without her, and Pauline's home is deteriorating. When Juluuley is diagnosed with tuberculosis and is quarantined in the hospital, Paulin and Jululiiet further blur the lines between reality and fantasy by writing long -term roles in their idyllic "fourth world".

Once the girls are combined, their parents care for the intensity of their friendship and the doctor concludes that homosexuality is the cause of Pauline's unstoppable behavior. The couple stepped further into their fantasies when they learn that the parents of the Ietuliet are divorcing and planning to leave Christchurch. They decide to escape together, deciding that the only thing they holds is Pauline's mother. With just a few weeks before the Jululiette leaves, they draw a brazen murder that they will spend as an accident.

The case of the murder of the real Parker-Hulm was a sensation in New Zealand when details of the girls' relationship were released during the 1954 murder trial. The idea of making a feature film about it came from Fran Walsh, co-producer of Peter Acksecson, co-writer and wife and they were determined to focus on the relationship between the culprits, not the murder himself. In an interview in 1994, Acksexon said the case was misunderstood and sensationalized as a story of a "killer of a lesbian student" and that's something he and Walsh wanted to solve. Working from the Diary about the real life of Paulin Parker (which provides a faithful narrative in the film), Jexon instead took us deep into their world of unhealthy-faith.

Acksexone made some bold choices with "heavenly beings" that could easily be tasteless given the true life nature of the story. A less imaginative director may have been tempted to play deadly seriously, but Acksecson's fantastic elements provide the film with joyful humor and excluded energy that carries us in the frivolous space of both girls. None of their real lives are particularly terrible, but these fancy contrast flights neatly with the modest, torn daily life of the 50s of the last century and play as a continuation of their obsession with each other.

With such a certain focus on Pauline and Juluiette's relationship, rather than the murder itself, the film was looking for strong performances from her young advantages. Fortunately, Acksexone found two huge talents in Melanie Lansin and Kate Winslet, who became close friends on the set (Linsey later admitted to being broken by the heart when they fired after Winslet fired at the Titanic a few years later). Of the two, Winslet's breakthrough was the worst; ITULIATE is full of cheerful power that masks deeper insecurities, but it is called to Max for the whole film. Her character should be disturbing, but portraying Winslet seems to be another note in retrospect, now we know that she is capable of delivering powerful turns with greater subtlety. Conversely, Lucy's performance as an awkward and misunderstood introvert based the film whenever Winslet or the Sequendors of Fantasy threaten to go too far.

Outside the two stars of "heavenly beings", the secret MVP is Sarah Pierce as the mother of Pauline. I remember thinking she was a little upward and instinctively climbed with girls when I first watched the film as a teenager, but now that I'm older, I see a sensitive portrait of a worried parent trying to do her best for her daughter, and her death is sad. Acksexon is sensitive to the murder, delivering a haunting latest stage of ethereal beauty set on "The Humming Chorus" by Puccini by Madame Butterfly. The stories of complicated female relationships are acted with a greater shade than ("Ghost World", "My Summer of the Wall"), but "Heavenly Creatures" is still an absorbing study of the toxic young Loveubov. It is also fascinating to see the launch of where the careers of Linsey, Winslet and Acksexon were stripped, and the film that indirectly opened the cinema portal to the middle country.