Forget Harry, there's another Potter vying for cinemagoers attention. Both work magic, it's just that one of them does it through charming stories and illustrations.
It's more than 124 years since Beatrix Potter made her debut as a children's writer with The Tale of Peter Rabbit, a book she struggled to get commercially published but which, by the end of 1902, had sold some 28,000 copies.
Understandably delighted with the response to a project they had rejected a year before, publishers Frederick Warne & Co, asked for more of the same. By 1905, Potter had written and illustrated a further seven tales and was established as the firm's best-selling author.
Today, the Peter Rabbit series are the biggest selling children's books in the world.
However, born in 1866 in Kensington, the daughter of barrister of leisure Rupert and full time socialite Helen, both of whom came from wealthy Lancashire cotton families, Potter herself remains something of a mystery.
We know that her books were written and drawn in her room at her parent's London house, a room that remained decorated like a nursery, but her personal life tended to be precisely that.
Her journals are written in code and there's actually no known record of her speaking voice, because, even though she lived to the ripe old age of 77, she always refused radio interviews.
While her 23 tales are world famous, how many realise that her literary and artistic pursuits eventually gave way to a career as a sheep-farmer and land conservationist who, when she died in 1943, bequeathed some 4,000 acres in the Lake District to the fledgling National Trust.
Now, written by Richard Maltby Jr, best known as a Tony-award winning musicals director and lyricist whose work includes Fosse and Miss Saigon, and directed by Chris Noonan, the Australian responsible for delighting audiences with Babe, Miss Potter looks to illuminate the bittersweet untold story of her love for her publisher, Norman Warne.
To play Beatrix, the filmmakers cast Academy Award winner Renee Zellweger, who admits that she was intrigued by the personal life of an artistic woman of her own age, living a century earlier, and the resonance she felt echoed in her own. However, getting to grips with Potter proved harder than anticipated.
"I knew little about Beatrix, because she was so determined to maintain the integrity of her private life," says Zellweger.
"The more I read and the more information I was given, the more uncertain I became about who she really might have been. She talked in her diaries about privacy and not wanting to be known.
"The people closest to Beatrix described her as merry, joyful and jolly. She had a glow, apparently, with laughing eyes of brilliant blue. But there are so many contradictions.
"On the one hand, she was outgoing and expressive. On the other, she was very introverted and felt discomforted in crowds. It was like putting together a puzzle and nothing was easy, nothing was clear."
Zellweger opted to go with the glow and jollity and gradually began to find the truth of her character.
"I came to feel I knew who she was," she continues. "I understood why her growing up informed the woman she became.
"I understood why she became more and more reserved because of the restrictions placed on her by her parents.
"As a younger person she was cut off from her peers, from the people you would normally expect her to move around. She was insecure and she was shy.
"She also didn't look like the girls and women of her age or class. She was dressed in a more workmanlike way.
"Women of the age tended, on the whole, to be overdressed, over-fussy and over-hatted."
For Zellweger, Potter's journey began to make perfect sense. As did the reason behind her beloved tales and characters.
"I feel she knew who she was by her late thirties. And she reached that point in her life by allowing herself to grow, in much the same way as I have myself.
"I understood why her growing up informed the woman she became. But she needed Peter Rabbit, Squirrel Nutkin and Benjamin Bunny to express things that she could not say herself. I found it remarkable that during her romance with Norman, she was never alone with him.
"They began corresponding, always addressing each other as Sir or Madam. It later changed to Miss Potter and Mr Warne, but even at that age she always had a chaperone. Even if she went to Norman's house, his sister, Millie, was always there."
After Norman's death, Potter spent her time between London and her newly acquired Hill Top cottage, producing one or two new books each year.
In 1913, she found love for a second time, eventually marrying Cumbrian solicitor William Heelis and permanently settling in the Lake District.
"The books and paintings gradually dried up. She gravitated towards a different lifestyle," Zellweger says.
"You can really sense the peace she found there, that she craved. The quiet that allows you to sit and take it in.
"Her work took a backseat to her real life as she grew older and it obviously reflects that she was fulfilled, that she found a life that was satisfying on every level."
Miss Potter opens on January 5.