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It is satisfying grown-up, less austere and more human, than many of le Carré’s other works.

Rachel Weisz’s two recent performances as a queer woman—in Disobedience and in The Favourite—have cemented her new status as a powerful creative force in the industry.

And her evolution says a lot about what kinds of heroine we have been missing.

Some things about Rachel Weisz have changed over the past 35 years, but others have not.

It is a complex combination of espionage thriller, political drama and a tale of loss and romantic self-discovery.

Now a starter of cultural conversations in her own right, Weisz’s days as a girlfriend to the movie hero are over.Disobedience was the first movie made by her production house, LC6, adapting Naomi Alderman’s novel of the same name about a romance between an Orthodox Jewish woman named Esti and the exile Ronit.Weisz inhabited Ronit with great eroticism and authenticity, to glowing reviews from mainstream critics and the queer community alike.She’s respectful, she’s enthusiastic, and somehow she manages to convey the feeling that her work is in service of the queer community, rather than performed on our behalf.It’s not rocket science, perhaps, but it’s a feat that nobody (pace Timothee Chalamet) in recent years has managed to quite pull off.

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