Watts and A’zion Join Paulson, Wiest, Wallace in Cody Fern’s Directorial Debut

By BlockReel Editorial Team Directing, Production February 9, 2026

Watts and A’zion Join Paulson, Wiest, Wallace in Cody Fern’s Directorial Debut

Another director is stepping from in front of the camera to behind it, and with a rather formidable ensemble already assembled. Cody Fern, an actor many industry professionals will recognize from his work on American Horror Story, is making his feature directorial debut, and he’s managed to pull together a cast that would make even a seasoned veteran producer sit up and take notice. The project, currently filming in Montreal, recently added two-time Oscar nominee Naomi Watts and the breakout star from Marty Supreme, Odessa A’zion, to its roster. They join Sarah Paulson (American Horror Story), Dianne Wiest (Edward Scissorhands), and Toby Wallace (The Bikeriders), as filming for Fern’s "Mother Courage" has officially commenced.

For those of us who’ve navigated the often-treacherous waters of development, watching projects wax and wane, talent attach and detach with the regularity of the tides, the announcement of a feature actually in production with this level of talent is always... well, it’s refreshing. It’s a testament to... something. Perhaps a compelling script, perhaps the tenacity of the producing team, or perhaps Fern’s own industry connections. Or, more likely, all of the above. Getting a film to camera is no small feat, especially one with such a high-caliber ensemble for a first-time director.

The film's narrative, as laid out in the initial reporting, plants its roots deeply in the dramatic soil of character-driven conflict. It centers on Sandra Bloom, portrayed by Sarah Paulson, a celebrated actress whose professional pinnacle, the eve of her greatest performance in a Broadway production of Bertolt Brecht’s Mother Courage, becomes the precipice from which her personal life begins its descent. The arrival of her estranged sister, April (Naomi Watts), after a three-decade absence, sets the stage not simply for dramatic tension, but for a presumably cathartic, if not explosive, family confrontation. Dianne Wiest steps into the role of Diane, the “vitriolic family matriarch,” a character type that, in the right hands (and Wiest certainly has them), can steal entire scenes with a single glance. Toby Wallace plays Theo, April’s son, whose perspective will undoubtedly offer another layer to the familial unraveling. And then there’s Odessa A’zion’s Lucy, described as a “wilful rebel on the edge of a life-altering decision.” The interplay of these roles, particularly within the pressure cooker environment of a Broadway production and a long-overdue family reunion, suggests a narrative ripe with theatricality and emotional weight.

Bertolt Brecht’s Mother Courage and Her Children, for those less familiar with the canon of epic theatre, is a formidable backdrop. A play that critiques the futility of war and the corrosive nature of commerce, Mother Courage itself is a masterclass in staging complex moral dilemmas. To embed a domestic drama, however heightened, within the world of that particular play’s production offers a fascinating metatextual layer. Will the themes of Brecht’s work mirror or contrast the personal struggles of Sandra Bloom? Will the rehearsal room, typically a space of focused, collaborative artistry, become another arena for the characters' personal conflicts to play out? These are the kinds of narrative choices that, when executed deftly, can elevate a film beyond a mere family drama. It also points to a certain ambition on Fern’s part, choosing material with such a rich, albeit heavy, cultural touchstone as its frame.

The assembly of this particular cast, especially with a first-time feature director at the helm, raises an interesting point about the evolving dynamics of talent attachment. How does a debut director secure such names? It’s rarely just about the script, though a compelling screenplay is undoubtedly the foundation. It often involves a combination of factors: an intriguing premise, the reputation of the producers involved, the established connections of the director (even as an actor), and, let’s not forget, the elusive timing and availability of talent. For Watts, a two-time Oscar nominee with a career spanning everything from Mulholland Drive to The Impossible, taking on a supporting role in an independent feature suggests either a deep belief in the material or a strong relationship with the creative team, or both. Similarly, Sarah Paulson, a regular collaborator with Ryan Murphy, and Dianne Wiest, an industry legend, don't sign on to just anything. It speaks volumes about the project’s perceived quality and potential draw.

On the production side, the team seems to blend established industry figures with newer voices. Matilda Comers and Will Howarth of Fictious are stepping in as producers, and this project will be their follow-up to the Sundance Screenwriters Lab-developed thriller In Vitro. Nancy Grant (Sentimental Value) and Rosalie Chicoine Perreault (Geographies of Solitude) also join as producers. The financing structure is a telling detail for anyone contemplating independent film. The involvement of Screen Australia and Telefilm Canada through a co-production treaty is a familiar and often necessary strategy for features operating outside the major studio system, allowing for access to different funding streams and broader distribution possibilities. Distribution deals are already in place with Elevation Pictures for Canada, Icon in Australia, and Ad Vitam in France, which provides a level of security that many independent films struggle to achieve even late in their lifecycle. It means the film isn't just being made, it's already being positioned for an audience.

However, a glance at the camera department reveals a significantly more experienced hand: Yves Bélanger, known for his cinematography on Big Little Lies and the Oscar-winning Dallas Buyers Club. This instantly elevates the production's visual prospects. Bélanger's filmography suggests a DP who understands both intimate drama and broader cinematic scope. His involvement might well have been a significant draw for the cast as well. A seasoned cinematographer can bring a level of professionalism, aesthetic consistency, and visual storytelling acumen that is invaluable, particularly for a first-time director. One wonders about the visual language they are creating for this film. Will the theatrical setting of Mother Courage influence the film’s visual style? Will there be a clear delineation between the stage world and Sandra Bloom’s collapsing personal life, or will they bleed into each other, reflecting the character’s unraveling? Bélanger's work often features a naturalistic approach that grounds even heightened realities, which could serve a story like this particularly well, ensuring the complex emotional beats land with authenticity.

Cody Fern also penned the screenplay for this film, co-writing it with fellow actor Devon Bostick (Oppenheimer). The actor-turned-writer-director path is not new, of course, but it’s always intriguing to see how a performer’s understanding of character and narrative translates to the page and then to the frame. What unique insights do actors bring to the screenwriting process? Often, it’s a detailed understanding of dialogue rhythm, subtext, and the unspoken intentions that drive a scene. It can also lead to a deeper collaboration with the actors on set, given a shared vocabulary and process. The collaboration on the script itself, between two actors, suggests a potential focus on character authenticity and nuanced performance.

For Odessa A’zion, this project follows her breakthrough performances in HBO’s I Love LA and the Oscar-nominated Marty Supreme, marking a continued upward trajectory. Securing a role alongside a cast of this caliber, in an independent film with international financing and distribution pre-sales, indicates strategic career momentum. It’s the kind of project that, if successful, could further solidify her standing in the industry. Similarly, for Toby Wallace, known for his work in The Bikeriders, it’s another opportunity to showcase his range in a high-profile ensemble.

The sales aspect, stewarded by mk2 Films, known for titles like Sentimental Value and The Secret Agent, also paints a picture of a project with a clear commercial strategy. Heading to the European Film Market (EFM) with international sales already in motion and key distribution partners secured is quite proactive. It suggests that financiers and sales agents believe there’s an appetite for this kind of character-driven drama, particularly one with such an established cast. In an increasingly competitive market, getting these pieces in place early can make all the difference in a project's viability.

The executive producer list includes Timothy White, Tanya Lapointe, Amanda Freedman, Lucile Vainstein, Raphael Quenard, and Patrick DesRosiers. While the specific roles of executive producers can vary widely, from pure financing to creative oversight, their collective presence points to a broad network of support and investment in this project. Each name represents another node in the intricate web of film production, signaling confidence in the endeavor.

So, a first-time director, a deeply personal and potentially challenging narrative, a stellar cast, and robust production support. What does this all suggest for the future of new directorial voices? It suggests that, despite the often-repeated laments about the difficulty of getting films made, compelling stories and committed talent can still find a path. It also underscores the importance of a layered approach to financing and distribution, especially for independent features. The industry, for all its structural changes, still values strong creative voices and the actors who can bring them to life. We’ll be watching to see how Fern, with the assistance of Bélanger and this remarkable ensemble, brings this complex family drama to the screen. It is a story about performance, both on-stage and off, a theme that resonates deeply within the artistic community and one that a director with an acting background might very well bring a unique perspective to. Perhaps this film will offer some profound insights into the dual lives artists often lead. Those are the stories that truly capture the professional imagination.

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