This week’s sweeping epic Agora is a bit of a headscratcher — not necessarily for its concentration on the bloody collision of religion, science, romance and politics in 4th-century Alexandria, but instead for the fact that a film so serious and substantial wasn’t itself made extinct somewhere along the development pipeline. Credit Rachel Weisz, the Oscar-winner whose commitment to writer-director Alejandro Amenabar has resulted in one of 2010’s unlikeliest biopics.
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Rachel Weisz on Agora, Her Job Description and the Cinema of Ideas
