“The New Yorker commissioned me to illustrate a review of Hirokazu Kore-eda’s film The Truth, which examines the complicated relationship between a famous actress and her daughter. The large triptych mirror in the illustration appears in the movie; it transports a certain grandeur
and, at the same time, complacency and division. The mirror’s own structure creates a narrative: the mother occupies the big central space and leaves little room for her daughter on the left and her daughter’s family on the right.”
