When Jodie Foster accompanied her latest directorial effort, The Beaver, to its world premiere at Austin’s South by Southwest festival in March, there was ample reason for the two-time Oscar winner to be apprehensive about her film’s reception. The story of a depressed, middle-age man who begins communicating only through a beaver puppet was already a hard sell because of its tricky tone, and it didn’t help matters when tapes of star Mel Gibson’s shocking private phone calls went very public last summer.
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