The Cold Case: Bite Into Kristen Stewart's Little-Seen Best Performance

This idea plays into the title, with "cake eaters" a phrase used when Bartok was growing up to describe those who'd made it in life -- ironic given that the characters don't have what they want, at least when we meet them.

All of the shone through strongly for Masterson, who'd been looking for a script to make her directorial debut. "I liked that the world of characters Jayce created had heart and an odd kind of innocence lacking in most films these days," she told me a few weeks back from her New York home, shortly after giving birth to her first child, a boy, and "my greatest production so far."

"The challenge with the material," she added, "in which not a lot happens, was to try to create a nuanced and true world in which change happens to these people in baby steps."

The other great challenge, of course, was finding the right teen actress for such a demanding role. Masterson, who was only familiar with Stewart from her work in Panic Room, flew out to Los Angeles to meet the then 15-year-old.

"Fifteen can be an awkward age, and you never know what side of adolescence a person will be on unless you sit down face-to-face with them," Masterson said. "I never asked to audition her. I just wanted to hear her thoughts about the character Georgia. She was totally poised and self-possessed. She was articulate and had an immediate affinity for the character. She had a ferocity about her -- a searing, searching thing that I think is truly at the core of who she is."

To nail the character, Masterson and Stewart reached out the Friedreich's Ataxia community, spent time with sufferers and their families, taped interviews. It paid off. "Kristen did her homework and it shows in her performance," Masterson said. "At almost every Q&A after screenings before Twilight came out, someone would ask where I found a girl with FA who could act."

Masterson applied the same eye for detail to the world the characters inhabit, which, while familiar feels just slightly off-kilter so as to give a sense of enclosure. "Because the material runs the risk of being TV movie-ish, I was very concerned about creating a realism and a sense of place that lacks sentimentality or theatricality," she told me. "Having said that, I referenced Norman Rockwell for some of the more formal compositions and color palette, so I knew we needed to embrace the inherent innocence and 'slowness' of the world while not allowing the characters to be self-consciously nostalgic. After all, they live in this reality, this place where no one appears to have a cell phone or computer or watch TV."

All well and good, but what was enormously frustrating for Masterson, Bartok and everyone involved in The Cake Eaters was that the lack of interest from distributors.

"We went through hell," Bartok recalled. "It was heartbreaking to see sold-out audiences at film festivals love the film and basically see distributors have no interest in it. When we played the Tribeca Film Festival and did get a lot of good reviews, I thought it was a shoe in for a distribution deal. Then a year of festivals went by, then another! I had basically, sadly come to terms with the fact that I would be burning DVD copies for friends forever."

Then, Twilight! And suddenly distributors were interested in a second bite of The Cake Eaters, gaining it a small theatrical release last March and a strong showing on DVD and on Showtime.

"It's funny to see all these Twilight fans talking about the film, some bashing it at first, then getting all geeky because Kristen is so great in the film," Bartok said. "A lot of people feel it's her best work."

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