The career of historic filmmaker Kathryn Bigelow is divided into two very distinct eras.
Initially, Bigelow was a go-to master of over-the-top genre entertainment.
The likes of Near Dark and Point Break were beloved for both their unique portraits of masculinity in mainstream American cinema and engaging in all kinds of entertaining mayhem (see: everything to do with Bill Paxton in Near Dark).
Starting with the 2009 feature The Hurt Locker, Bigelow turned her gaze towards more serious-minded fare like Zero Dark Thirty and Detroit that tackled extremely relevant sociopolitical issues.
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