Imagine a beloved holiday classic, watched by families worldwide every Christmas, yet the star herself has never made it a tradition to view it. Kate Winslet reveals her family doesn’t watch The Holiday—ever. But why? And what does this say about how actors perceive their own work? Let’s dive in.
For countless households, The Holiday has become a festive staple. This 2006 romantic comedy, starring Winslet and Cameron Diaz as two heartbroken women who swap homes across the Atlantic to heal during Christmas, has captured hearts. Jude Law and Jack Black added charm as their love interests. Yet, Winslet’s family isn’t among its annual viewers.
But here’s where it gets intriguing: Winslet admits, ‘We haven’t seen *The Holiday for years. We don’t sit down to watch films I’m in—I barely do.’** She explains that watching her own work is an ‘excruciating experience,’ a sentiment many actors share. It’s a fascinating insight into the disconnect between creating art and revisiting it.
This topic arose as Winslet discussed her first Christmas film in nearly two decades, Goodbye June, with the BBC. Written by her son, Joe Anders, the film is a heartfelt tribute to Winslet’s mother, Sally, who passed away from ovarian cancer in 2017. It follows siblings setting aside differences to honor their mother during her palliative care at Christmas.
And this is the part most people miss: Winslet emphasizes, ‘It’s not a film about dying—it’s about living.’* Premiering on Netflix on Christmas Eve, it’s billed as an uplifting watch, blending emotion with hope.
Goodbye June marks Winslet’s directorial debut, starring alongside heavyweights like Dame Helen Mirren and Timothy Spall. After years of considering directing, she felt ready, balancing motherhood and acting. ‘My children are grown enough for me to be mentally absent,’ she shares, highlighting the challenges of juggling family and career.
But here’s the controversial bit: Winslet addresses the skepticism female directors face, especially those transitioning from acting. ‘Do we really know what we’re doing with the camera?’ she questions, challenging the bias. With 33 years in front of the camera, she argues her experience speaks for itself. ‘I’ve learned everything,’ she asserts.
Winslet also tackles the gender gap in directing. Last year, only 16 of the UK’s top 100 box office films were directed by women. She attributes this to motherhood’s demands and societal doubt in women’s capabilities. ‘We’re resilient, forward-thinking, and perfectly capable,’ she declares, echoing the rise of directorial debuts by actresses like Scarlett Johansson and Kristen Stewart.
Now, for the thought-provoking question: Is the ‘nepo baby’ label fair? Winslet’s children, Mia Threapleton and Joe Anders, are carving their paths in film—without using her surname. ‘They’re not getting a leg up,’ Winslet insists, defending their talent and hard work. Mia starred in Wes Anderson’s The Phoenician Scheme, while Joe wrote Goodbye June and acted in Lee and 1917. ‘They’ve earned their respect,’ Winslet argues, urging us to look beyond labels.
Winslet hopes her directorial leap inspires change. ‘If more of us do it, more will follow,’ she says, advocating for women in film. Goodbye June hits cinemas Friday and Netflix on Christmas Eve, while The Holiday streams on BBC iPlayer. Which will you watch?
What do you think? Is the ‘nepo baby’ label fair, or does it overshadow genuine talent? And do actors truly need to watch their own films? Share your thoughts below!
