Alfonso Cuarón Goes Long - The Oscar-winning filmmaker finds pathos in our lonely present in his first TV miniseries

A perceptive, generous-spirited child draws on her imagination when she's subjected to the cruelty of a boarding-school headmistress. A lone astronaut, cradled in a damaged space capsule and having lost any hope of returning to Earth, experiences a hallucination that saves her life. A young household servant, abandoned by the man who's gotten her pregnant, miscarries-though his betrayal helps her define what family truly means to her. Loneliness, so universal it has virtually become trademarked the Human Condition, is everywhere in art, and in life: we tend to fetishize it, or at least dab it with a perfume of sentimentality. But Alfonso Cuarón, now more than 30 years into a wide-ranging career that spans pictures like the Frances Hodgson Burnett adaptation A Little Princess, the space reverie Gravity, and the memoir-as-film drama Roma, is more interested in subtle emotional textures, in gradations of feeling that are always specific to the character at hand yet also joltingly recognizable. And now he brings his big-screen, big-story gifts to a limited series, an adaptation of Renée Knight's 2015 psychological thriller Disclaimer.

- By Stephanie Zacharek - Photograph by David Vintiner

A perceptive, generous-spirited child draws on her imagination when she's subjected to the cruelty of a boarding-school headmistress. A lone astronaut, cradled in a damaged space capsule and having lost any hope of returning to Earth, experiences a hallucination that saves her life. A young household servant, abandoned by the man who's gotten her pregnant, miscarries-though his betrayal helps her define what family truly means to her. Loneliness, so universal it has virtually become trademarked the Human Condition, is everywhere in art, and in life: we tend to fetishize it, or at least dab it with a perfume of sentimentality. But Alfonso Cuarón, now more than 30 years into a wide-ranging career that spans pictures like the Frances Hodgson Burnett adaptation A Little Princess, the space reverie Gravity, and the memoir-as-film drama Roma, is more interested in subtle emotional textures, in gradations of feeling that are always specific to the character at hand yet also joltingly recognizable. And now he brings his big-screen, big-story gifts to a limited series, an adaptation of Renée Knight's 2015 psychological thriller Disclaimer.