“… but there is another side to Audrey that is relatively unexplored. Audrey suffered great tragedy and trauma in her life, but she was always able to transform this into something better, and more beautiful,” says Helen Coan, director of the documentary Audrey: More Than an Icon.

As a definitive feature documentary on Audrey Hepburn, the film is about the star, fashion icon and humanitarian. Coan uses re-enactments, genuine footage, recorded testimonies, and Audrey Hepburn herself on film and recordings.

The story begins with a recording of Audrey, then winning her first Academy Award at age 24. Coan telling the story of Audrey’s family and her experience during WW II — in Holland — one of the worse Nazi-occupied countries.

From there the movie tells Audrey Hepburn’s story through the eyes of those who are in the film industry, close friends, grandchildren of photographers, and fashion designers. You’re drawn into a well-made movie with cuts to a ballerina dancing on stage as a symbol of Audrey’s desire to become a ballet dancer.

Wayne McGregor crafted the film dance sequences. McGregor is a multi-award-winning British choreographer and director. Three dancers play Audrey in various stages of her life are Francesca​ Hayward, principal dancer in the Royal Ballet, plays ‘Hollywood era Audrey’, at the height of her fame. Alessandra​ Ferri, ​one of 13 dancers ever to receive the title of ‘prima ballerina assoluta,’ plays Audrey in her later years. The documentary introduces Keira Moore as ‘Young Audrey.’ Moore audition as part of the process at various ballet schools. Composer Alex Somers wrote the movie’s original score, inspired by the Golden Age of Hollywood composers who scored Audrey’s films.

As Coan skillfully cuts in Audrey’s recordings, as a voiceover, industry footage, and home movies, the viewer meets the magical icon based on how Coan weaves the story, which emphasizes her hardship.

She had three marriages, and her last marriage seems to be a success.

In 1980, Audrey meets Robert Wolders. Brought together at a dinner party, Robert is overcoming the recent death of his wife, and Audrey is trapped in an unhappy marriage. This shared feeling of disillusionment with life and love bonds the two together, as well as their harrowing shared experiences of Nazi-occupied Holland in World War II. As Robert explained, “We met at a time when we each had gone through trials, but we knew exactly what we wanted — togetherness.” 

Audrey and Robert’s life is relatively simple, and they detach themselves from the glitz and glamour of Hollywood. Together they live in the foothills of the Alps, away from the glare of the paparazzi as much as possible, and begin a life of service, dedicating more and more of their time to UNICEF.

In the years that follow, Audrey’s commitment to UNICEF results in her retiring from acting, and she spends the last years of her life dedicated to helping and campaigning on behalf of children living in developing countries, from Bangladesh to Somalia.

Her life coming full circle, Audrey, often with Robert by her side, makes many UNICEF field trips, visiting and drawing attention to life-saving initiatives, from projects providing drinking water in Guatemala, orphanages in Ethiopia, training programs for women in Venezuela, polio vaccine projects. They appointed Audrey as Goodwill Ambassador for UNICEF. 

Three years later, Audrey, having experienced severe abdominal pain, is diagnosed with a rare form of appendix cancer and told she has only three months to live. 

“Such a valuable human being” is the only thing Robert can say. 

No one has matched her unrelenting work with UNICEF. When she passed away, it’s told with endearment. She seemed at peace and content with her life.

The documentary covers her entire life, including marriages, her children, and her association with UNICEF. Coan’s portrait may feel conflicting with the display of vulnerability and strength, “… whose complexities, insecurities, challenges and intricacies made her a force of nature whose presence is still felt worldwide today,” concludes Coan.