An enormous shadow hovers over the characters in “Jurassic World: Rebirth,” and it’s the same one that has been dogging composer Alexandre Desplat ever since he was a teenager in Paris.
That shadow? The music of John Williams.
“He’s such a legend for all of us,” says Desplat, 63, on a Zoom call from London, where he’s been burning the midnight oil on the score for Guillermo del Toro’s upcoming “Frankenstein.” “He’s just the only one to follow.”
Like Williams, Desplat is now a grizzled (though painterly handsome) veteran himself, with hundreds of films to his name. He’s already completed three scores this year alone — for the French-Swedish Palme d’Or nominee “Eagles of the Republic,” Wes Anderson’s “The Phoenician Scheme” and this week’s “Jurassic” heavyweight.
He’s also making his North American conducting debut on July 15 in a grand survey of his film career at the Hollywood Bowl, a fitting, if overdue, coronation of his two-decade reign as an A-list composer in America.
When Desplat began scoring Hollywood films in the early 2000s, his music swept in like a breath of fresh French air — elegant, restrained, melodic, idiosyncratic — and the list of filmmakers who sought him out reads like a sizable section of the Criterion Closet: Terrence Malick, Ang Lee, Kathryn Bigelow, David Fincher, Jonathan Glazer, Greta Gerwig.
“He’s the last tycoon of American movie music,” Desplat said in 2010 of his idol John Williams. “He drew a line and we just have to be brave and strong enough to try and challenge this line. With humility, but with desire. It’s a kind of battle.”
(Jennifer McCord / For The Times)
His ride-or-die partner is Anderson, who first employed him on “Fantastic Mr. Fox” in 2007 and who teed up Desplat’s first Oscar win with “The Grand Budapest Hotel.” (He’s been nominated eleven times.) May’s “The Phoenician Scheme” marked their seventh collaboration.
“As I started being a film composer, I had my idols in sight — of course Hitchcock and Herrmann, David Lean and [Maurice] Jarre, [François] Truffaut and Georges Delerue,” Desplat told me in 2014. “All these duets were strong and they showed how important the intimacy between a director and a composer would be for both of them. It’s not only good for the film, it’s good for the composers, because these composers actually developed their own style by doing several movies with the same director.”
In a town too often filled with generic, factory-farmed scores, his were like a gourmet French meal, even though he grew up on the same diet of American movies and their iconic scores. The young Desplat was obsessed with U.S. culture — listening to jazz, watching baseball and the Oscars — and he decided he wanted to score movies after he heard “Star Wars” in 1977. Emblazoned on the cover of that iconic black album were the words “Composed and Conducted by John Williams.”
“That,” Desplat told his friend at the time, “is what I want to do.”
It’s fitting and kind of funny that two decades after charming audiences with a delicate, waltzing score for the 2003 Scarlett Johansson prestige picture “Girl with a Pearl Earring,” the composer is now promoting a stomping monster score for a blockbuster behemoth starring Johanssson and a bunch of CGI dinosaurs — and tampering with John Williams’ sacred musical DNA.
“Jurassic World: Rebirth” isn’t the first time he’s had to brave the T-rex-sized footprints of his hero: Desplat scored the final two films in the “Harry Potter” series, and he was also the first composer on “Rogue One: A Star Wars Story.” He left the latter when Tony Gilroy took over the project from original director Gareth Edwards, and before composing any notes.
“I went as far as the change of directors and change of plans,” Desplat explains, “and the weeks passing by, and then I had to move on because I wanted to work with Luc Besson” (on 2017’s “Star Wars”-esque “Valerian and the City of a Thousand Planets”).
“I dreamed of writing for symphonic scores,” Desplat says, “but for many years there was no way I could do it in French cinema, because the movies didn’t offer that, or the producer didn’t offer that. I had to learn how to sound big with very little amount of musicians.”
(Jennifer McCord / For The Times)
Much like his work on “Harry Potter,” Desplat’s odes to Williams in “Rebirth” are more whispers than shouts — though there are a handful of overt declarations of both the iconic anthem and hymn for Steven Spielberg’s 1993 dino-masterpiece. More subtle homages arrive in his use of solo piano and ghostly choir, and in the opening three notes of his motif for the team led by Johansson’s character — a tune that almost begins like Williams’ “Jurassic” hymn.
“So there’s a connection,” Desplat says. “I take the baton and I move away from it.”
He composed new leitmotifs for wonder, for adventure, for danger. His score, much like the original, is an amusement park ride full of sudden drops, humor and family-friendly terror, with a few moments of cathartic, introspective relief.
Mostly, Edwards kept pushing him for more hummable motifs.
“When I was tempted to go back to something more abstract — you know, French movie,” Desplat says, winking — “he would just ask me to go back towards John Williams’ inspiration of writing great motifs that you can remember and are catchy.”
Desplat worries this is becoming an extinct art in Hollywood. “I don’t hear much of that in many movies that I watch,” he says. “It’s kind of an ambient texture — which is the easiest thing to create.”
In college, he would listen to the “Raiders of the Lost Ark” score on a loop, and as his own scoring career developed, he was paying keen attention to John Williams’ more intimate chamber scores like “The Accidental Tourist” and “Presumed Innocent” — as well as juggernauts like “Jurassic Park.” Besides the music itself seeping in, he learned that it was important to score every kind of film, no matter how big or small. Williams’ work also taught him “that I could have something elegant, classical, but with some seeds of jazz in the chords or in the way the melody evolves.”
Whenever he hears someone talking dismissively about Williams, Desplat gets defensive. “I want to punch them,” he says, only half kidding.
“He’s the master, what can I say?” Desplat told me in 2010. “He’s the man. He’s the last tycoon of American movie music. So that’s everything said there. He drew a line and we just have to be brave and strong enough to try and challenge this line. With humility, but with desire. It’s a kind of battle.”
Jonathan Bailey and Scarlett Johansson in the movie “Jurassic World Rebirth.”
(Jasin Boland / Universal Pictures )
When Desplat received his first Academy Award nomination, for “The Queen” in 2007, the one person who called from Los Angeles to congratulate him was Maurice Jarre, composer of “Lawrence of Arabia” and “Doctor Zhivago.”
Desplat had met the French legend a few times over the years, including an early invitation to a mixing session for the 1990 film, “After Dark, My Sweet.” Desplat was aghast when he saw director James Foley taking away Jarre’s melody and all the various musical elements on the mixing board, save for a simple electronic thump.
The young composer expressed his dismay and Jarre calmly said: “It’s his film. I have to accept that.”
“That’s a lesson that I learned very early on,” Desplat says. “I’ve never forgotten that, because it’s still the same,” he laughs.
He was also warmly received as a young man by Georges Delerue, the great serenader of the French New Wave in films like “Jules and Jim” and “Contempt.” “They were so kind,” Desplat says, “such sweet men, both of them.” (Michel Legrand? Not so much, Desplat says: “He said awful things about me in books.”)
What they all have in common — besides a penchant for composing beautiful music — is the defiant, transatlantic leap from the French film industry where they started to the highest perch in Hollywood. Jarre left Paris in the early 1960s after the enormous success of “Lawrence” and never looked back, forging meaningful partnerships with directors like Peter Weir and Adrian Lyne. Delerue uprooted from Paris to the Hollywood Hills after winning his first Oscar in 1980 and scored a few hits including “Steel Magnolias” and “Beaches.”
“I really think that people who work a lot are lazy,” says Desplat, who has already completed three scores this year. “That’s why they work a lot — otherwise they wouldn’t work at all.”
(Jennifer McCord / For The Times)
Desplat started professionally in France in 1985 and wrote roughly 50 scores before “Girl with a Pearl Earring,” the English-language film that put him on Hollywood’s radar. He continues to do French films amid the summer blockbusters and American art house pictures.
“I dreamed of writing for symphonic scores,” Desplat says, “but for many years there was no way I could do it in French cinema, because the movies didn’t offer that, or the producer didn’t offer that. I had to learn how to sound big with very little amount of musicians.”
He enjoys the freedom of a big-budget project. “To be able to have a studio say, ‘Go, write what you need to write.’ The director, he wants an orchestra, he wants 95 musicians. Great! They don’t even say anything. You just go and you record. They book the studio. They book the musicians.”
Still, the limitations he trained under gave Desplat some of his greatest strengths: creativity, resourcefulness, speed. He had to orchestrate everything himself, which means his music bears a distinctive fingerprint. And composing for small, sometimes unorthodox ensembles gave his music a clean, transparent signature as opposed to the all-too-typical wall of mud.
He can’t say much about his 100-minute score for “Frankenstein,” which he just finished recording with a giant orchestra and choir at both Abbey Road and AIR Studios, and which comes out on Netflix in November. The reason he does so many films, Desplat proposes, is because he’s lazy.
“I really think that people who work a lot are lazy. That’s why they work a lot — otherwise they wouldn’t work at all.”
The $145-million global opening of Apple’s “F1 The Movie” came as a relief — both for the iPhone maker itself and theater operators hoping for an original hit during this sequel-dominated summer of blockbusters.
The expensive Brad Pitt action sports drama, directed by Joseph Kosinski (“Top Gun: Maverick”) and produced by Jerry Bruckheimer, was a high-stakes gamble by the Cupertino-based tech giant, which until now has enjoyed little success at cinemas.
In the U.S. and Canada, the film did better than expected, generating $57 million in ticket sales through Sunday, according to studio estimates. Analysts were projecting $40 million to $50 million, based on prerelease tracking. Warner Bros. Pictures, which is on a much-needed hot streak, distributed “F1” in partnership with Apple.
Because the movie cost at least $200 million to make (and perhaps far more, according to some reports) after tax breaks and before significant marketing costs, the picture is still far from profitable. But with strong reviews from audiences and critics — an “A” CinemaScore, 83% “fresh” on the Tomatometer and 97% approval from moviegoers on Rotten Tomatoes — the film should continue to perform well in the coming weeks.
It’ll face some serious competition, with Universal Pictures’ “Jurassic World: Rebirth” arriving in theaters Wednesday for the Fourth of July holiday weekend and Warner Bros.’ “Superman” from James Gunn coming shortly afterward.
Nonetheless, “F1” has the all-important Imax screens locked down until “Superman,” and that should be an advantage, given that the movie plays like both an old-school blockbuster and a thrill ride.
The question now: What does this mean for Apple’s film business and how the company approaches theatrical releases in the future?
Since Apple got into Hollywood six years ago with the launch of Apple TV+, the movie slate has struggled to come up with a big-screen success, despite huge spending on prestigious projects and big-name talent.
Its Sundance acquisition “CODA” won the 2022 best picture Oscar, albeit in a weird year, in a first for a streaming company.
But Martin Scorsese’s “Killers of the Flower Moon” and Ridley Scott’s “Napoleon” weren’t commercial hits. “Argylle” and “Fly Me to the Moon” flopped, and “Wolfs” was scaled back from its planned theatrical release. The Miles Teller–Anya Taylor-Joy feature “The Gorge” went straight to streaming.
Analysts and movie industry insiders have speculated that the performance of “F1” would heavily influence whether Apple dove further into blockbuster filmmaking or abandoned theaters altogether. Apple certainly treated it like a high-stakes release, having Chief Executive Tim Cook give an interview with Variety and promoting the film through various parts of the company, including its retail stores and its music, fitness, maps and podcast apps.
Apple lacks an in-house theatrical distribution arm and instead enlists traditional studios for those duties. Burbank-based Warner Bros. worked with Apple on the marketing side while also contributing financially to the campaign, according to people close to the studios.
As of now, it’s unclear what Apple’s ambitions are for the multiplex.
Spike Lee’s Denzel Washington-starring thriller “Highest 2 Lowest,” a reimagining of the 1963 Akira Kurosawa classic “High and Low,” is getting a miniature theatrical window from A24 ahead of its September streaming release on Apple TV+. Apple has already inked a deal for another upcoming Kosinski-Bruckheimer collaboration, about UFOs.
An Apple spokeswoman did not respond to a question about future movie plans.
Theater owners want to see more from Apple at a time when they’re often struggling with a lack of compelling material, especially for grown-ups. With “F1,” they saw a glimpse of hope.
“F1” is a racing movie with throwback vibes, which is no guarantee of success. But the F1 brand is strong, especially internationally, where the movie is doing particularly well ($88.4 million so far). The companies sold the movie as a sort of “Top Gun: Maverick” on wheels, an approach that resonated with audiences. People familiar with the data say the film is drawing in audiences who don’t typically go to theaters, which the theaters desperately need.
The box office performance bodes well for the title’s eventual streaming release on Apple TV+.
With the exception of Netflix, which remains set against doing a true traditional theatrical business, film studios say movies that open in theaters do better on streaming than if they’re simply dumped onto a crowded service. Amazon has again committed to theaters since acquiring MGM Studios after slinking away from the business model years ago.
On the other hand, theatrical releases are risky, especially for a company that cares about its reputation the way Apple does. Flops are embarrassing, even for a company that’s worth $3 trillion and can afford to subsidize a filmmaker’s vision.
In both movies and TV, Apple has been selective with its programming strategy.
It doesn’t have a vast library or a deluge of new releases to keep people interested the way Netflix does. Thus, its subscriber counts have lagged the bigger rivals with more voluminous offerings, according to analysts. (Apple doesn’t disclose subscriber numbers.)
Ask anyone in Hollywood why, exactly, Apple is in the movie business at all and you’ll get varied answers.
Of course, the company wants to grow Apple TV+, which Apple views as part of a larger play to boost its services business. Having a hit movie, in theory, should help with that. People who work with Apple will often argue that the company is more interested in the branding glow that comes with a great movie than whether any particular title makes money.
The company has developed a reputation for quality, especially with buzzy TV projects including Jon Hamm’s “Your Friends & Neighbors,” Seth Rogen’s “The Studio” and, more recently, “Stick” starring Owen Wilson.
“We studied it for years before we decided to do [Apple TV+],” Cook told Variety. “I know there’s a lot of different views out there about why we’re into it. We’re into it to tell great stories, and we want it to be a great business as well. That’s why we’re into it, just plain and simple.”
For Apple, the question of whether to commit to the blockbuster business is a billion-dollar component of a $3-trillion car.
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California legislators voted Friday to more than double the amount allocated each year to the state’s film and television tax credit program, raising that cap to $750 million from $330 million.
The increase is a win for the studios, producers, unions and industry workers who have lobbied state legislators for months on the issue, Samantha Masunaga reported.
Gov. Gavin Newsom proposed the increase to help lure productions back to the state at a time when local film and TV employment is sparse.
But other states have not given up the arms race.
New York recently upped its film tax credit cap to $800 million. Texas is also ramping up its incentive program to compete with regional rivals.
Alec Baldwin and additional “Rust” movie producers have agreed to settle a negligence lawsuit brought by three New Mexico crew members who witnessed the 2021 fatal shooting of the film’s cinematographer.
Crew members Ross Addiego, Doran Curtin and Reese Price filed the lawsuit in 2023, seeking compensation for the trauma they said they suffered after Baldwin accidentally shot Halyna Hutchins. The crew members were setting up their gear in a small wooden church on the movie set when the shooting occurred.
In the lawsuit, the crew members blamed the tragedy on “dangerous cost-cutting” and a “failure to follow industry safety rules.” The movie’s star, Baldwin, also served as a producer on the low-budget western.
The plaintiffs sued Baldwin, his El Dorado Pictures company and Rust Movie Productions LLC, alleging negligence and intentional infliction of emotional distress. In the suit, the crew members argued that Baldwin and other producers “cut corners, ignored reports of multiple, unscripted firearms discharges, and persisted, rushed and understaffed, to finish the film.”
Baldwin and fellow producers have long denied such allegations.
Last week, the two sides asked a New Mexico civil court judge to dismiss the case.
“All claims have been settled and compromised,” attorneys for both sides wrote in a joint June 25 motion.
Terms of the proposed settlement were not disclosed. Representatives for the two sides declined to comment.
“Each party has agreed to bear its own costs and fees,” the lawyers wrote.
The film was running behind schedule the day of the shooting after camera crew members had walked off the set. The camera technicians have said they were frustrated by inaction over their complaints of a lack of nearby housing, rushed conditions and safety violations, including accidental gun discharges.
The shooting claimed the life of Hutchins, 42. She died that day, leaving behind her husband, their son and her family in Ukraine. The producers previously settled a wrongful death lawsuit brought on behalf of her husband, Matthew Hutchins.
Addiego was the film’s dolly operator, responsible for operating the mechanisms for camera movement. Curtin was the set costumer, overseeing costumes and accessories. Price was the key grip, who handled the nonelectric support gear.
New Mexico authorities brought three criminal prosecutions, including against Baldwin, who pointed the gun at Hutchins during a setup shot for a close-up of Baldwin’s prop revolver.
Baldwin pleaded not guilty to involuntary manslaughter and his high-profile trial ended abruptly last July after former New Mexico 1st Judicial District Court Judge Mary Marlowe Sommer dismissed the charge.
The judge found the special prosecutor and Santa Fe County sheriff’s deputies had concealed evidence from Baldwin’s legal team, which the judge said prejudiced the case against Baldwin.
At the time, the actor-producer’s team was exploring whether prosecutors and sheriff’s deputies botched the investigation into how the bullets made their way onto the desert set.
The weapons handler Hannah Gutierrez was convicted of involuntary manslaughter following a two-week trial last year. The Arizona woman was released from prison last month after serving 14 months.
Ryan Gosling puts the “not” in “Astronaut” in the new trailer for “Project Hail Mary.”
The upcoming sci-fi film, based on Andy Weir‘s novel of the same name, stars Gosling as middle school teacher turned reluctant astronaut Ryland Grace, who’s tasked with saving humanity from the effects of a dimming sun. However, when he wakes up from a coma as the sole survivor aboard a spaceship, he must overcome his amnesia to remember where he is and why he was sent there.
“It’s an insanely ambitious story that’s massive in scope and it seemed really hard to make, and that’s kind of our bag,” Gosling said of “Project Hail Mary” at CinemaCon in April, where he debuted footage from the film, according to Variety. “This is why we go to the movies. And I’m not just saying it because I’m in it. I’m also saying it because I’m a producer on the film.”
The trailer, released Monday by Amazon MGM Studios, opens with Gosling startling awake on the spacecraft, his hair and beard uncharacteristically long. “I’m several light-years from my apartment,” he proclaims, “and I’m not an astronaut.”
It then jolts back in time to show Grace pre-launch as he learns from Eva Stratt (Sandra Hüller) that if he does not journey into space, everything on Earth will go extinct. According to Stratt, who heads the mission, Grace is the only scientist who might understand what is happening to the sun and surrounding stars.
The trailer, which progresses through an intense montage set to Harry Styles’ “Sign of the Times,” teases Gosling’s signature humor. “I can’t even moonwalk!” the “Barbie” actor declares at one point. (Gosling portrayed moonwalker Neil Armstrong in another recent space movie, Damien Chazelle’s “First Man.”)
Everything leads up to Grace meeting an alien, who isn’t shown in full — but fans of the book know it plays an integral role in saving planet Earth and beyond.
The film, directed by Phil Lord and Christopher Miller, marks the second book-to-movie adaptation for Weir, whose novel “The Martian” became an Oscar-nominated 2015 blockbuster starring Matt Damon. An adaptation for his book “Artemis” is also in development with the same directing team.
Hollywood’s relationship with artificial intelligence is fraught, as studios balance the need to cut costs with growing concerns from actors, directors and crew members. But in China, efforts to use AI in entertainment are taking a more no-holds-barred approach.
The China Film Foundation, a nonprofit fund under the Chinese government, plans to use AI to revitalize 100 kung fu classics including “Police Story,” “Once Upon a Time in China” and “Fist of Fury,” featuring Jackie Chan, Jet Li and Bruce Lee, respectively. The foundation said it will partner with businesses including Shanghai Canxing Culture & Media Co., which will license 100 Hong Kong films to AI companies to reintroduce those movies to younger audiences globally.
Chow Yun-fat stars in director John Woo’s “A Better Tomorrow” in 1986.
(Cinema City)
The foundation said there are opportunities to use AI to tell those stories through animation, for example. There are plans to release an animated version of director John Woo’s 1986 film “A Better Tomorrow” that uses AI to “reinterpret” Woo’s “signature visual language,” according to an English transcript of the announcement.
“By empowering cultural storytelling with technology, we can breathe new life into the classics and tell China’s stories farther and louder,” said Zhang Pimin, chairman of the China Film Foundation, at the Shanghai International Film Festival earlier this month.
The project raised eyebrows among U.S. artists, many of whom are deeply wary of the use of AI in creative pursuits.
The Directors Guild of America said AI is a creative tool that should only be used to enhance the creative storytelling process and “it should never be used retroactively to distort or destroy a filmmaker’s artistic work.”
“The DGA strongly opposes the use of AI or any other technology to mutilate a film or to alter a director’s vision,” the DGA said in a statement. “The Guild has a longstanding history of opposing such alterations on issues like colorization or sanitization of films to eliminate so-called ‘objectionable content’, or other changes that fundamentally alter a film’s original style, meaning, and substance.”
The project highlights widely divergent views on AI’s potential to reshape entertainment as the two countries compete for dominance in the highly competitive AI space. In the U.S., much of the traditional entertainment industry has taken a tepid view of generative AI, due to concerns over protecting intellectual property and labor relations.
While some Hollywood studios such as Lionsgate and Blumhouse have collaborated with AI companies, others have been reluctant to announce partnerships at the risk of offending talent that have voiced concerns over how AI could be used to alter their digital likeness without adequate compensation.
But other countries like China have fewer guardrails, which has led to more experimentation of the technology by entertainment companies.
Many people in China embrace AI, with 83% feeling confident that AI systems are designed to act in the best interest of society, much higher than the U.S. where it’s 37%, according to a survey from the United Nations Development Program.
The foundation’s announcement came as a surprise to Bruce Lee Enterprises, which oversees legal usage of Lee’s likeness in creative works.
Bruce Lee’s family was “previously unaware of this development and is currently gathering information,” a spokesperson said.
Woo, in a written statement, said he hadn’t heard from the foundation about the AI remake, noting that the rights to “A Better Tomorrow” have changed hands several times.
“I wasn’t really involved in the project because I’m not very familiar with AI technology,” Woo said in a statement to The Times. “However, I’m very curious about the outcome and the effect it might have on my original film.”
David Chi, who represents the China Film Foundation’s Special Fund for Film and Urban Development, said in an interview that Chan is aware of the project and he has plans to talk with Chan’s team. A representative of Chan’s did not respond to a request for comment.
“We do need to talk … very specifically how we‘re using animated or AI existing technology, and how that would combine with his image rights and business rights,” Chi said. Chi did not have an immediate response to the DGA, Bruce Lee Enterprises and Woo’s statements.
AI is already used in China for script development, content moderation and recommendations and translation. In postproduction, AI has reduced the time to complete visual effects work from days to hours, said He Tao, an official with the National Radio and Television Administration’s research center, during remarks at the festival.
“Across government agencies, content platforms, and production institutions, the enthusiasm to adopt and integrate AI has never been stronger,” He said.
During the project’s announcement, supporters touted the opportunity AI will bring to China to further its cultural message globally and generate new work for creatives. At the same time, they touted AI’s disruption of the filmmaking process, saying the “A Better Tomorrow” remake was completed with just 30 people, significantly fewer than a typical animated project.
China is a “more brutal society in that sense,” said Eric Harwit, professor of Asian studies at the University of Hawaii at Manoa. “If somebody loses their job because artificial intelligence is taking over, well, that’s just the cost of China’s moving forward. They don’t have that kind of regret about people losing jobs and there are less opportunities for organized protest against the Chinese government.”
A scene from the movie “Once Upon A Time In China.”
(Golden Harvest)
Hollywood guilds such as SAG-AFTRA have been outspoken about the harm AI could have on jobs and have fought for protections against AI in contracts in TV shows, films and video games. The unions have also pushed state and federal legislators to create laws that would give people more protections against deep fakes, or videos manipulated to show a person endorsing an idea or product that they don’t actually support. There is no equivalent of that in China.
“You don’t have those freestanding labor organizations, so they don’t have that kind of clout to protest against the Chinese using artificial intelligence in a way that might reduce their job opportunities or lead to layoffs in the sector,” Harwit added.
U.S. studios are also going to court to challenge the ways AI companies train their models on copyrighted materials. Earlier this month, Walt Disney Co. and Universal Pictures sued AI startup Midjourney, alleging it uses technology to generate images that copy the studios’ famous characters, including Yoda and Shrek.
In China, officials involved in the project to remaster kung fu films said they were eager to work with AI companies. They said that AI will be used to add “stunning realism” to the movies. They are planning to build “immersive viewing experiences” such as walking into a bamboo forest duel and “feeling the philosophy of movement and stillness.” In areas such as animation, new environments could be created with AI, Chi said.
“We are offering full access to our IP, platform, and adaptation rights to partners worldwide — with the goal of delivering richer, more diverse, and high-quality AI enhanced film works to global audiences,” said Tian Ming, chairman of Shanghai Canxing Culture & Media Co. in his remarks earlier this month. Tian said there is no revenue-sharing cap and it is allocating about $14 million to co-invest in selected projects and share in the returns.
The kung fu revitalization efforts will extend into other areas, including the creation of a martial arts video game.
Industry observers said China is wise to go back to its well of popular martial arts classics out of Hong Kong, which have inspired U.S. action movies for decades.
There’s also not as much risk involved for China, said Simon Pulman, a partner at law firm Pryor Cashman.
“They’ve got very little to lose by doing this,” Pulman said. “If it can potentially enhance the value of those movies, there’s very little downside for them.”
China’s film industry has grown significantly compared to decades ago, boosted by the proliferation of movie theaters, including Imax screens, in the country.
In the past, China’s box office relied heavily on U.S. productions like movies from the “Fast & Furious” and Marvel franchises, but now local movies dominate the market. The Chinese animated movie “Ne Zha 2” grossed $2.2 billion at the box office globally.
But those Chinese productions generally don’t draw large U.S. audiences when they’re released in the States. The classic martial arts movies, however, have a global following and enduring legacy.
“People love martial arts movies, because action travels,” said Paul Dergarabedian, senior media analyst at Comscore. “It doesn’t matter what language it’s in, if you have a great action sequence and great fighting sequences.”
Emmy nominations voting ends tonight at 10 p.m. PT. Still need help with your ballot?
I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. Still time to bite into a “Jaws” doughnut and peruse my picks for this year’s Emmy races. (An ordinary bagel will do.)
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My personal picks in 15 Emmy categories
There are more than 100 Emmy categories, and if you scrolled through each and every one of them on the Television Academy’s website, you are probably one of those people who read the terms and conditions on a document before signing your name.
For me, simply filling out the following 15 categories — five each for comedy, drama and limited series — left me exhausted and in need of a sweet treat. And I already finished my “Jaws” doughnut. Maybe this cherries jubilee? Paul Giamatti would approve.
Without further ado, here are my picks and a brief line of reasoning for each. And if it’s predictions you’re after, you can find our full BuzzMeter panel’s choices here.
Bridget Everett in “Somebody Somewhere.”
(Sandy Morris / HBO)
COMEDY SERIES “Abbott Elementary” “The Bear” “Hacks” “A Man on the Inside” “Only Murders in the Building” “The Rehearsal” “Somebody Somewhere” “The Studio”
Last call on nominating Everett (and her magical series), which has won a Peabody.
COMEDY ACTOR Ted Danson, “A Man on the Inside” Steve Martin, “Only Murders in the Building” Seth Rogen, “The Studio” Martin Short, “Only Murders in the Building” Jeremy Allen White, “The Bear”
Best Netflix comedy: “A Man on the Inside,” anchored by Danson, still a master of light laughs.
COMEDY SUPPORTING ACTRESS Liza Colón-Zayas, “The Bear” Hannah Einbinder, “Hacks” Kathryn Hahn, “The Studio” Linda Lavin, “Mid-Century Modern” Jane Lynch, “Only Murders in the Building” Catherine O’Hara, “The Studio” Sheryl Lee Ralph, “Abbott Elementary”
COMEDY SUPPORTING ACTOR Ike Barinholtz, “The Studio” Colman Domingo, “The Four Seasons” Paul Downs, “Hacks” Harrison Ford, “Shrinking” Ebon Moss-Bachrach, “The Bear” Tyler James Williams, “Abbott Elementary” Bowen Yang, “Saturday Night Live”
DRAMA ACTRESS Kathy Bates, “Matlock” Britt Lower, “Severance” Elisabeth Moss, “The Handmaid’s Tale” Kaitlin Olson, “High Potential” Bella Ramsey, “The Last of Us”
Moss won this Emmy eight years ago. With the show ending, she has earned a parting gift.
DRAMA ACTOR Sterling K. Brown, “Paradise” Gary Oldman, “Slow Horses” Pedro Pascal, “The Last of Us” Adam Scott, “Severance” Noah Wyle, “The Pitt”
“Why don’t you say whatever speech you’ve got rehearsed and get this over with.” Godspeed, old friend. Also: Joel’s parting words should flash onscreen any time an Emmy winner goes long at the podium.
DRAMA SUPPORTING ACTRESS Carrie Coon, “The White Lotus” Taylor Dearden, “The Pitt” Fiona Dourif, “The Pitt” Tracy Ifeachor, “The Pitt” Katherine LaNasa, “The Pitt” Julianne Nicholson, “Paradise” Parker Posey, “The White Lotus”
Women of “The Pitt” > Women of “The White Lotus”
DRAMA SUPPORTING ACTOR Patrick Ball, “The Pitt” Gerran Howell, “The Pitt” Jason Isaacs, “The White Lotus” Damian Lewis, “Wolf Hall: The Mirror and the Light” Jack Lowden, “Slow Horses” Tramell Tillman, “Severance” John Turturro, “Severance”
I don’t know. Tillman might deserve the Emmy for this alone.
Christine Tremarco and Stephen Graham in “Adolescence.”
(Netflix )
LIMITED SERIES “Adolescence” “Dope Thief” “Dying for Sex” “The Penguin” “Say Nothing”
“Adolescence” should win everything.
LIMITED SERIES/MOVIE ACTRESS Kaitlyn Dever, “Apple Cider Vinegar” Cristin Milioti, “The Penguin” Lola Petticrew, “Say Nothing” Michelle Williams, “Dying for Sex” Renée Zellweger, “Bridget Jones: Mad About the Boy”
OK, maybe not everything, as “Adolescence” doesn’t have a submission here. Zellweger probably won’t win because comic acting rarely does, even though it most definitely should.
LIMITED SERIES/MOVIE ACTOR Colin Farrell, “The Penguin” Stephen Graham, “Adolescence” Brian Tyree Henry, “Dope Thief” Kevin Kline, “Disclaimer” Cooper Koch, “Monsters: The Lyle and Erik Menendez Story”
Farrell has already won so many awards for “The Penguin,” it feels like either A) he must have won the Emmy too or B) he hasn’t, and good God, let somebody else have a prize. (Like Graham.)
LIMITED SERIES/MOVIE SUPPORTING ACTRESS Erin Doherty, “Adolescence” Ruth Negga, “Presumed Innocent” Deirde O’Connell, “The Penguin” Imogen Faith Reid, “Good American Family” Jenny Slate, “Dying for Sex” Christine Tremarco, “Adolescence”
Doherty will likely win for the series’ third episode, the taut two-hander with Owen Cooper. But the fourth episode is just as good — maybe even better — featuring a heart-rending turn from Tremarco as the mom trying to hold it together.
LIMITED SERIES/MOVIE SUPPORTING ACTOR Javier Bardem, “Monsters: The Lyle and Erik Menendez Story” Owen Cooper, “Adolescence” Rob Delaney, “Dying for Sex” Rhenzy Feliz, “The Penguin” Hugh Grant, “Bridget Jones: Mad About the Boy” Ashley Walters, “Adolescence”
Vin Diesel says the planned finale of the long-running “Fast & Furious” franchise will come with an unexpected passenger.
Speaking at Fuel Fest, an automotive event in Pomona over the weekend, Diesel told fans that the final “Fast & Furious” film will bring back one of the series’ most beloved characters: Paul Walker’s Brian O’Conner. The longtime on-screen partner to Diesel’s Dominic Toretto, O’Conner last appeared in 2015’s “Furious 7,” which was completed after Walker’s death in a car accident in 2013 at age 40.
The franchise — known for its blend of street racing, elaborate heists and outsized action — has grown into one of the most successful of all time, with more than $7 billion at the global box office.
“Just yesterday I was with Universal Studios,” Diesel said in a video from the event. “The studio said to me, ‘Vin, can we please have the finale of ‘Fast & Furious’ [in] April 2027?’ I said, ‘Under three conditions’ — because I’ve been listening to my fanbase.”
Those conditions, he said, were to bring the franchise back to L.A., return to its street-racing roots and reunite Dom and Brian.
“That is what you’re going to get in the finale,” Diesel promised.
How the production might accomplish that reunion remains unclear. When Walker died during the making of “Furious 7,” the filmmakers turned to a mix of archived footage, digital effects and performances by Walker’s brothers, Caleb and Cody, who served as stand-ins for unfinished scenes. Artists at Weta Digital created more than 300 visual-effects shots to map Walker’s likeness onto his brothers’ bodies, often piecing together dialogue from existing recordings. The film’s farewell — showing Brian and Dom driving side by side before splitting onto separate roads — became one of the franchise’s most memorable and emotional moments, widely seen as a tribute to Walker’s legacy.
A return for Brian O’Conner would join a growing list of posthumous digital performances in major franchises — a practice that continues to stir debate over where the line should be drawn. In 2016’s “Rogue One: A Star Wars Story,” Peter Cushing’s Grand Moff Tarkin was recreated through a mix of motion capture, CGI and archival material, decades after Cushing’s death. In 2019, “The Rise of Skywalker” relied on previously unused footage and digital stitching to return Carrie Fisher’s Leia to the screen three years after the actress’ passing.
And in last year’s “Alien: Romulus,” the late Ian Holm’s likeness was recreated as an android using AI and digital effects, with the approval of his estate — a choice that sparked controversy and led to more practical effects being used in the film’s home release.
Marlee Matlin has a word tattooed on each of her wrists. On the left is “perseverance,” on the right is “warrior.”
“After 37 years, I’m still hustling,” she says by way of explanation in “Marlee Matlin: Not Alone Anymore.” Referring to the ink on her left wrist, she adds, “I look at this all the time. Every day.”
“Not Alone Anymore” is hardly the first celebrity documentary to salute its subject’s tenacity. But if the contours of this story are familiar — the rise, the fall, then the rise again of an Oscar winner — director Shoshannah Stern’s affectionate portrait is all the richer for the layers it reveals about both Matlin and the larger struggles of the Deaf community she embodies. The 59-year-old actor’s legacy may indeed be one of perseverance, but “Not Alone Anymore” touchingly details just how much more challenging her battles with addiction and sexual abuse have been than those of other famous people.
The film’s inventiveness starts with its opening frames, in which closed captioning describes the sounds that accompany the production companies’ logos: “[low humming],” “[dramatic, echoey flutters].” These descriptions occur throughout the documentary, as do subtitles for every talking head, including the Deaf participants. Obviously, these creative decisions allow Deaf and hard-of-hearing viewers to more easily experience “Not Alone Anymore.”
But it’s also a subtle acknowledgement of Matlin’s trailblazing work in the late 1980s, when she used her newfound fame to convince lawmakers to require televisions to include closed captioning — a groundbreaking development for a community who had been deprived of a fuller engagement with the media they were watching.
This wasn’t the only way in which Matlin has left her mark. In “Not Alone Anymore,” she breezily recounts how, at 19, she was plucked from relative obscurity to star in her first film, the 1986 adaptation of “Children of a Lesser God,” based on Mark Medoff’s acclaimed play, about a love affair between Sarah, a Deaf janitor, and James, a hearing teacher. Matlin won the Oscar, becoming the first Deaf actor to do so. (Nearly 40 years later, she remains the youngest lead actress recipient.) At the time, her victory was hailed not just as a coronation of a promising talent but also a triumph for the Deaf, who too often feel marginalized and underestimated. But, as the documentary reveals, real progress would prove trickier to achieve.
Matlin and Stern, who is also a Deaf actor, have been friends for decades, and their interviews are mostly conducted sitting together on a couch, the conversations exuding the cozy intimacy of old chums chatting. Making her directorial debut, Stern deftly draws out her subject. Audiences will learn about Matlin’s past history of drug abuse and her fraught romantic relationship with her “Lesser God” costar William Hurt, whom she has accused of sexual and physical abuse. (Hurt died in 2022.)
But “Not Alone Anymore” gently probes the unique difficulties Matlin’s deafness created as she navigated those traumas. When she went to rehab, the facility was ill-equipped to treat a Deaf patient. And during a poignant discussion about Matlin’s sexual abuse, she explains growing up with no understanding of the phrase “domestic violence.”
“Deaf people only have their eyes to rely on for information,” she tells Stern. It’s an illuminating illustration of the dangers of what the Deaf community refers to as language deprivation.
Despite her Oscar win, Matlin would repeatedly have to advocate for herself in an industry seemingly uninterested in Deaf characters. Stern uses 2021’s best-picture-winning “CODA,” which costarred Matlin, as a happy ending of sorts for her film, without denying the ongoing movement for greater Deaf visibility. But if “Not Alone Anymore” can sometimes lean too heavily on uplifting sentiment, Matlin’s story possesses a bittersweet aftertaste.
As evidenced by Matlin’s years of striking, engaging performances, she is a winning presence in the documentary — funny, charming and open — even while we sense the lingering wounds from a difficult upbringing exacerbated by sexual abuse she endured in childhood. Beyond being a spokesperson for the Deaf, Matlin has also emerged as a voice for survivors, even when the world wasn’t receptive to what she had to say. “Not Alone Anymore” notes, with pointed irony, that Matlin published her candid memoir “I’ll Scream Later” in 2009, years before #MeToo, so her accusations against Hurt didn’t carry the same weight in the media as the ones that would later stop powerful predators such as Harvey Weinstein.
It was hardly the first time Matlin waited for society to catch up with her. When she first arrived in Hollywood, she couldn’t have possibly imagined how much of a warrior spirit she would need. “Not Alone Anymore” honors a woman who learned how to fight.
‘Marlee Matlin: Not Alone Anymore’
In English and American Sign Language, with subtitles
Not rated
Running time: 1 hour, 38 minutes
Playing: Opens Friday, at Landmark Nuart Theatre, Laemmle Noho 7
After weathering a pandemic, dual strikes and massive wildfires, Hollywood is finally getting a lifeline.
California legislators voted Friday to more than double the amount allocated each year to the state’s film and television tax credit program, raising that cap to $750 million from $330 million.
Other states and countries have increasingly lured productions away from California with generous tax credits and incentive programs, leaving many in Hollywood without work for months. In interviews, town halls and legislative committee hearings, industry workers said that without state intervention, they feared Tinseltown would be hollowed out, similar to Detroit after the heyday of its auto industry.
“It’s now time to get people back to work and bring production home to California,” Directors Guild of America executive and Entertainment Union Coalition President Rebecca Rhine said in a statement. “We call on the studios to recommit to the communities and workers across the state that built this industry and built their companies.”
From there, state lawmakers looked to expand the provisions of the program. A separate bill going through the Legislature would broaden the types of productions eligible to apply, including animated films, shorts and series and certain large-scale competition shows. It would also increase the tax credit to as much as 35% of qualified expenditures for movies and TV series shot in the Greater Los Angeles area and up to 40% for productions shot outside the region.
That bill, AB 1138, was unanimously approved Thursday by the state Senate Revenue and Tax Committee. It will be up for final votes next week.
California provides a 20% to 25% tax credit to offset qualified production expenses, such as money spent on film crews and building sets. Production companies can apply the credit toward any tax liabilities they have in California.
The bump to 35% puts California more in line with incentives offered by other states, such as Georgia, which provides a 30% credit for productions.
Lawmakers and industry insiders have said the increased tax credit cap and the proposed criteria changes to the incentive program must both be approved to make California more competitive for filming. The bill was written by Assemblymember Rick Chavez Zbur (D-Los Angeles) and state Sen. Benjamin Allen (D-Santa Monica).
“After years of uncertainty, workers can once again set the stage, cue the lights, and roll the cameras — because California is keeping film and TV jobs anchored right here, where they belong,” Zbur said in a statement about the $750-million cap. “This is a historic investment in our creative economy, our working families, small businesses, and the communities that depend on this industry to thrive.”
Agnes (Eva Victor) has the face of a classical Hollywood movie star but she dresses like an old fisherman. Her expressions are inscrutable; you never know what’s going to come out of her mouth or how. When asked on a written questionnaire how her friends would describe her, she puts down “smart,” crosses it out, then replaces it with “tall.” She is all of those things: tall, smart, striking, endearingly awkward, hard to read. And she is an utterly captivating, entirely unique cinematic presence, the planet around which orbits “Sorry, Baby,” the debut feature of Victor, who not only stars but writes and directs.
Agnes’ backstory, revealed in time, is a distressingly common one of sexual assault, recounted with bursts of wild honesty, searing insight and unexpected humor. Victor’s screenplay earned her the Waldo Salt Screenwriting Award at the Sundance Film Festival this year, where the film had its premiere. As a writer and performer, Victor allows Agnes to relay what happened in her own way while keeping the most intimate horrors protected.
Set in the frigid environs of the English department at a rural Massachusetts university, “Sorry, Baby” carries a literary quality, emphasized by nonchronological titled chapters (e.g., “The Year With the Baby,” “The Year With the Bad Thing,”) carefully establishing our protagonist, the world she inhabits and a few nagging questions.
Agnes is a professor of English at the university where she completed her graduate studies, but we first meet her as the best friend of Lydie (Naomi Ackie), who arrives for a winter weekend visit. Two codependent besties reunited, they snuggle on the couch and laugh about sex. Lydie delights at the mystery man who turns up on her friend’s doorstep — a friendly, familiar neighbor named Gavin (Lucas Hedges).
But Lydie’s quiet concern for her friend is also palpable. When she reveals her pregnancy to Agnes, she says, “There’s something I need to tell you about my body,” as if Agnes is a child who needs gentle explanation. And in a strange way, Agnes seems to take to this childlike role with her friend. Lydie carefully probes her about her office and its previous occupant. She presses her about remaining in this town. Isn’t it “a lot”? “It’s a lot to be wherever,” Agnes replies. Lydie requests of her, “Don’t die” and Agnes reassures her she would have already killed herself if she was going to. It’s cold comfort, a phrase that could capably describe the entire vibe of “Sorry, Baby.”
Victor then flips back to an earlier chapter, before their graduation, to a time when Agnes seems less calcified in her idiosyncrasies. Their thesis advisor, Preston Decker (Louis Cancelmi), handsome and harried, tells Agnes her work is “extraordinary” and reschedules a meeting due to a child-care emergency. They both end up at his home, where dusk turns to night.
What ensues is what you expect and dread, though we only hear about it when Agnes recounts the excruciating details of the incident to Lydie later that night. The fallout renders Agnes emotionally stunted, running alternately on autopilot and impulse. Lydie fiercely protects (and enables) her friend until she has to move on with her life, leaving Agnes frozen in amber in that house, that office, that town, that night.
There’s an architectural quality to Victor’s style in the film’s structure and thoughtful editing, and in the lingering shots of buildings standing starkly against an icy sky, glowing windows beckoning or concealing from within: a representation of a singular kind of brittle, poignant New England stoicism. Victor captures Agnes the same way.
Thanks to the profound and nuanced honesty Victor extracts from each moment, “Sorry, Baby” is a movie that lingers. Even when Agnes does something outlandish or implausible — turning up on foot at Gavin’s door in a tizzy is one of her curious quirks — it feels true to the character.
But Agnes is a mystery even to herself, it seems, tamping down her feelings until they come tumbling out in strange ways. She goes about her daily life in a never-ending cycle of repression and explosion, cracking until she shatters completely. Her most important journey is to find a place to be soft again.
The only catharsis or healing to be found in the film comes from the titular apology, more a rueful word of caution than anything else. We can never be fully protected from what life has in store for us, nor from the acts of selfishness or cruelty that cause us to harden and retreat into the protective cocoon of a huge jacket, a small town, an empty house.
Life — and the people in it — will break us sometimes. But there are still kittens and warm baths and best friends and really good sandwiches. There are still artists like Victor who share stories like this with such detailed emotion. Sometimes that’s enough to glue us back together, at least for a little while.
“M3GAN 2.0” is another shiny display case for its violent antiheroine, an artificially intelligent doll with little regard for human life. In the new movie, there are two of them: Meet AMELIA, a lithesome blond who opens the film decimating a bunker somewhere near the border of Turkey and Iran. The robot babe’s name stands for Autonomous Military Engagement Logistics and Infiltration Android, and one can imagine the real White House asking if we can actually build her.
This fledgling franchise has rewired itself from horror to action-comedy. Bigger and goofier than the 2022 hit, “M3GAN 2.0” is content to be this summer’s fidget spinner: an amusement soon forgotten. You can easily accuse returning director Gerard Johnstone (who’s taken over screenwriting duties too) of assembling it from other movies’ nuts and bolts. He’s not hiding his influences, including “The Terminator,”“Metropolis” and the head-spinning theatrics of “The Exorcist.” It’s a magpie movie that’s happy to give audiences the tinselly things they want — i.e., two robots clobbering the Wi-Fi out of each other. But Johnstone creates openings for his own shaggy sense of humor. I’m excited to keep tabs on the promising New Zealander.
The snippy robot begins the film with her body destroyed but her ego as big as ever. M3GAN, voiced by Jenna Davis and embodied by both an animatronic puppet and the young dancer Amie Donald, will be reconstructed and built back better — and taller, as the physically gifted Donald has herself aged from 12 to 15. As an interim step, M3GAN gets temporarily placed in a tiny teal bot with flipper hands named Moxie, who seems adorable unless you know that Moxie was a real AI emotional support doll launched in 2020 that was abruptly bricked last year, teaching kids a sad lesson in startup funding and, in essence, death. (You can find videos online of people saying goodbye to their comatose friend.)
Meanwhile, M3GAN’S creator Gemma (a droll Allison Williams) is out of prison and rebranding herself as an anti-technology crusader. “You wouldn’t give your child cocaine — why would you give them a smartphone?” she hectors, while her bland do-gooder boyfriend Christian (Aristotle Athari) enlists the United Nations to fight back against the creeping omnipotence of AI. Cady (Violet McGraw), Gemma’s 12-year-old orphaned niece, wants a career in computer science. Gemma prefers that she concentrate on soccer.
Smartly, these films don’t create a phony dichotomy between tender humans and cold machinery. Gemma’s interpersonal skills could use an update. She can’t connect to her young charge. Hilariously and hypocritically, she orders Cady around with zero respect for the child’s free will. When Cady insists that she’s not sleepy enough to go to bed, Gemma snaps, “Take a melatonin.”
What interests Johnstone here is how biological and synthetic beings blend together. Gemma and her colleagues Cole and Tess (Brian Jordan Alvarez and Jen Van Epp) are designing a mechanized exoskeleton that would allow a human worker to toss around concrete blocks as breezily as a penny (although when it glitches, Cole can’t get out of the suit to use the bathroom). Their billionaire potential investor, Alton (Jemaine Clement, whose oily lecherousness may remind you of a recent government employee), has a neural chip in his temple that’s layered an invisible computer screen over his retinas. Blinking his eyes to take photographs, this repellent tech bro appears so ridiculous that you half-wonder if his innovation is fake, — the emperor’s new code. But when AMELIA (Ivanna Sakhno) uses his eyeballs against him, we enjoy Alton realizing how pitiful he looks.
The plot here is the same one we’re going to keep repeating until today’s technofeudalist geeks quit inventing things that the majority of people don’t want. (So, probably forever.) AMELIA wants access to the computer cloud that controls every facet of our existence, from the power grid to the financial markets. There’s a cool, if truncated, car chase in which AMELIA treats humans like roadblocks, flinging us into traffic by freezing scooters and releasing cash from sidewalk ATMs.
On a more intimate scale, Gemma and Cady’s new Bay Area rental is a smart house where everything is a potential poltergeist, from the ice dispenser to the vacuum. They thought M3GAN was dead; turns out, she’s the ghost in their machines. The movie isn’t scary in the slightest. But afterward, it’s terrifying to count how many things you own that aren’t truly under your control — and, scarier, how hard it’s getting to stop this home invasion. Does anyone really need their refrigerator authorized to order more eggs?
“M3GAN 2.0” is at heart a B-movie about a technological arms race fought by femmebots with literal swinging arms. It’s dopey by design. At least Johnstone punches up the premise. There’s not just one secret lair — there are three! — and each has its own playful reveal. Later, he finagles a physical comedy beat in which Gemma is delighted to realize she’s more like M3GAN than she thinks. I was never that moved by M3GAN’s girl-power-y argument that she has a soul (“I’m nobody’s plaything,” she growls.) And the scene in which she and Gemma bond starts off like a groaner but gets us howling when the doll goes too far and begins to sing another cringey pop song, a great gag recycled from the last movie.
Most of the other obvious yuks are flashy and hollow: Of course M3GAN will dance. Of course M3GAN will zip into a flying squirrel suit and go soaring over the trees. Of course a souped-up smart sports car will blare the theme music from “Knight Rider.” That gets a reflexive chuckle, but it mostly reminds us that today’s so-called genius inventors just wish their childhood toys were real.
But what intrigues me about Johnstone are the jokes that barely involve M3GAN at all. The most surprising laugh in the first movie came when a detective giggled as he described a little boy’s murder. Killer dolls, we get. Yet, this was the stock cop character seen in every genre flick acting fundamentally against his programming. Here, that humor has gone viral — it’s now in every scene — insisting that humanity itself is fundamentally strange and unpredictable.
The robot is the draw, but I’d watch “M3GAN 2.0” for the people. And stay for the end credits disclaimer: “This work may not be used to train AI.” Good luck with that.
‘M3GAN 2.0’
Rated: PG-13, for strong violent content, bloody images, some strong language, sexual material and brief drug references
No pop artist today has a more tangled relationship to a venue than the Weeknd has with SoFi Stadium.
First, he chose SoCal’s flagship stadium as the site to film the denouement of his cult-campy HBO series “The Idol” during one of his concerts. Unfortunately, during the set, he lost his voice four songs in and had to send fans home for the night so he could recover and make up the date. For such a perfectionist, that must have been a body blow.
He rebounded a few months later with a triumphal return and the concert doc “The Weeknd: Live at SoFi Stadium.” But that nerve-racking experience stuck with him. He revisited it in his recent feature film (and album) “Hurry Up Tomorrow,” where a fictional version of the Weeknd loses his voice onstage, kicking off a surrealist, violent night with Jenna Ortega. A brief interlude from that LP is titled “I Can’t F— Sing.”
So Abel Tesfaye must have had a range of mixed feelings when he walked out at SoFi on Wednesday night, the first of four nights at the site of some of his greatest triumphs and most bitter disappointments as a live performer. “This is bigger than me — it’s a reflection of the power of music and its impact on people,” Tesfaye told The Times in a brief email just before the show.
The Weeknd performs during his After Hours til Dawn Stadium Tour at SoFi Stadium.
(Luke Johnson / Los Angeles Times)
This slickly cryptic, immaculately performed 2½-hour set covered the whole of his era-defining catalog. But is this run of SoFi dates a swan song to one of the most successful recording projects of our time?
Since first emerging as an anonymous voice atop gothic, coked-up R&B productions on a trilogy of 2011 mixtapes, Tesfaye’s tastes and his unlikely commercial success grew together.
An underground fan base turned up for the nihilism of “Wicked Games” (“Bring the drugs, baby, I could bring my pain”). But with assists from Max Martin and Daft Punk, he became a bona fide pop star. His mournful Ethiopian melodic lilt stood out like nothing else in Top 40, and he hung onto enough art-freak sensibility that he could headline the Super Bowl halftime show with dancers in full-face plastic-surgery bandages. His ’80s-noir, 2019 single “Blinding Lights” remains the most-streamed song on Spotify, ever.
Darryl Eaton, his agent at CAA, told The Times that the 200,000 tickets sold for this SoFi run alone is “like selling out an entire American city.”
Yet Tesfaye has recently hinted at retiring the Weeknd as a premise. “It’s a headspace I’ve gotta get into that I just don’t have any more desire for,” he told Variety recently. “It never ends until you end it.”
Whether he wants to release less conceptual, more personal music, or if he’s simply run out of gas with this all-consuming pop entity he’s created, this SoFi run is likely one of the last chances L.A. fans will get to see the Weeknd. Tesfaye will surely keep making music and films, but it makes cinematic sense that he’d come back to the scene of his most painful night onstage to put this all to bed.
After a brief and typically roiling set from Tesfaye’s recent collaborator Playboi Carti, Tesfaye emerged in black and gold, eyes lit with LED pinpicks, over a ruined cityscape. Opening with the “BoJack Horseman”-riffing “The Abyss,” he grimly promised, “I tried my best to not let you go / I don’t like the view from halfway down … I tried to be something that I’ll never be.” It sure felt like he was saying goodbye to this way of being an artist.
The show kicked into gear with Tesfaye surrounded by a trim live band and minimalist, moving-sculpture dancers in rose-colored robes. He didn’t need much more to let that once-in-a-generation voice carry everything. Tesfaye’s a uniquely dedicated live vocalist on the stadium circuit (it’s kind of honorable that any serious vocal troubles might mean the show’s over). For all his high-concept misdirections in videos and films, you could feel the troubled intimacy that’s kept fans invested in this music over so many aesthetics.
For all his close reads of Michael Jackson’s records on singles like “Can’t Feel My Face,” Tesfaye’s not an especially physical dancer onstage. But he knows exactly how to inhabit and set-dress this music to make it eerie and monolithic, even at its poppiest.
The Weeknd.
(Luke Johnson / Los Angeles Times)
“After Hours” made a seductive case for letting an obviously toxic man back into your life (“Different girls on the floor, distracting my thoughts of you”). After finally taking off his face mask, he played “Take My Breath” like a revving, neo-disco floor-filler that still winked at the darker choke-kinks of his old music.
When he cranked up the pyro on the midcareer lurker ballad “The Hills,” the front rows of SoFi got a bracing reminder of how volatile this music is even when it sits atop streaming charts. Alongside Carti on their collaborations “Timeless” and “Rather Lie,” Tesfaye grounded his pal’s smeary Atlanta noise with evilly pretty melody. This is a voice you just can’t help but believe, even when it’s calling you to self-destruction.
The Weeknd performs at SoFi Stadium.
(Luke Johnson / Los Angeles Times)
If this tour is indeed at the end of his tenure as the Weeknd, at more than three dozen songs, Wednesday’s set delivered every possible angle of valediction — the thrumming decadence of “Often,” the desperate sincerity of “Die for You” and “Is There Someone Else?” Newer material like “Cry for Me” and “São Paolo” showed that, whatever his exhaustion with this aegis, he’s got tons of startling ideas still brimming.
When Tesfaye buried the hatchet with the Grammys back in February, it was a generous gesture to an organization that inexplicably locked him out of honors for “Blinding Lights,” which he should, obviously, have contended for. When he played that double-time, neo-New Wave single toward the end of his Wednesday set, it felt like a strange pearl that he’d discovered — one of the biggest pop songs of all time, played by a guy whose music emerged from a murk of MDMA licks and mournful threesomes.
With perhaps the exception of his (exceedingly stylish if critically skeptical) film career, he’s always found his voice, over and over again. SoFi Stadium has dealt the Weeknd his greatest defeat and some of his finest hours as a performer. Now it’s sending him off to Valhalla, wherever that takes Abel Tesfaye.
Lalo Schifrin, the six-time Oscar nominee and prolific composer best known for his Grammy-winning “Mission: Impossible” theme, has died. He was 93.
Schifrin died Thursday morning at a hospital in Los Angeles, his son Will Schifrin, a writer and producer, told The Times. He reportedly died of complications from pneumonia.
The Argentine-born composer infused elements of jazz, rock and funk into classical orchestral music and is credited with helping to change the sound of movies. Schifrin was Oscar-nominated for his scores on the films “Cool Hand Luke” (1967), “The Fox” (1967), “Voyage of the Damned” (1976), “The Amityville Horror” (1979) and “The Sting II” (1983). He also earned a song nomination for “People Alone” from the 1980 drama “The Competition.” In 2018, Schifrin received an honorary Oscar.
Schifrin wrote more than 100 scores for film and television over the course of his Hollywood career, including for the movies “Dirty Harry” (1971), “THX 1138” (1971), “Enter the Dragon” (1973) and the “Rush Hour” trilogy, as well as TV shows including “The Man from U.N.C.L.E.” and “Starsky and Hutch.”
“I learned to be a chameleon,” Schifrin told The Times in 2018. “In motion pictures, the real creator is the screenwriter and the director and the producer. I have to work for what they have made. Like a chameleon, I do whatever is necessary.”
In 2011, Schifrin modestly described himself as a “music maker.” While the catchy theme for the spy series “Mission: Impossible” remains one of his best known pieces, Schifrin told The Times “it was just work.”
“For everything I’ve done, I did my best,” Schifrin said in 2016. “I like what I did. I don’t think it’s a masterpiece, but it’s OK. … If people like it, to the point of embracing it, great. That doesn’t happen too often.”
Born in Buenos Aires, Argentina, in 1932, Schifrin was exposed to music from a young age. His father Luis served as the concert master of the Philharmonic Orchestra of Buenos Aires at the Teatro Colón. And Schifrin was just 5 years old when a trip to the movies with his grandmother made him realize that it was the music that made the horror film so scary.
Schifrin began studying piano under Enrique Barenboim, the father of pianist and conductor Daniel Barenboim, when he was 6. He discovered and fell in love with modern American jazz as a teenager. Upon the suggestion of one of his teachers, he applied for a scholarship to attend the Paris Conservatory. During his time there, he made money playing at jazz clubs.
After returning to Buenos Aires, Schifrin started his own jazz band to perform at concerts and on TV. He eventually met American jazz trumpeter Dizzy Gillespie, who invited him to work for him in the U.S. In 1963, while he was working with Gillespie after moving to New York, Schifrin was offered a job in Hollywood.
“My first movie was called ‘Rhino,’” Schifrin told The Times in 2011. “It was a low-budget movie, but it was the beginning.”
Schifrin is survived by his wife, Donna, and his children, William, Frances and Ryan.
There is a simple tattoo of a windowpane on the middle finger of Eva Victor’s right hand. When I ask about it, the filmmaker launches into a story that involves miscommunication with an Italian tattoo artist while on a trip to Paris.
“I drew this really intricate fine-line tattoo of a window with all these curtains and little things in it,” explains Victor. “And I went to the woman and she was like, ‘I cannot do that.’ And I was like, ‘OK, what can you do?’ And she drew a box with lines in it and I was like, “OK, let’s do that.’ And she did it.”
With a little distance and perspective, what could have been a permanent disaster now means something else.
“It seriously is a really rough tattoo,” Victor adds with a lighthearted laugh. “But, you know, life is life. And that’s my tattoo and I have it on my hand every day of my life.”
Much like “Sorry, Baby,” the debut feature that Victor wrote, directed and starred in, the tattoo story is one that begins in odd whimsy but takes an unexpected turn toward something deeper, a personal journey.
“I have a lot of tattoos that are day-of tattoos,” Victor, 31, says. “Sometimes with big decisions I find it’s easier to just do it. It matters more to me that I’m doing this than what it is.
Seeing it every day, the little window is a reminder of another life. “It is definitely like a memory of a person I was who would do something like that,” she adds.
“Sorry, Baby” premiered earlier this year at the Sundance Film Festival, where it won the Waldo Salt Screenwriting Award and was picked up for distribution by indie powerhouse A24. The film more recently played at Cannes and opens in limited release this week.
Told via a literary-inspired chapter structure across five years, the story follows Agnes (Victor), a professor at the small East Coast liberal arts college where she was also a grad student, as she tenuously recovers from the free fall following a sexual assault by one of her instructors. Naomi Ackie (also recently seen in “Blink Twice” and “Mickey 17”) brings an openhearted allegiance to Agnes’ best friend Lydie, who, over the course of the film, comes out as gay, marries a woman and has a baby, while Lucas Hedges plays a sympathetic neighbor.
Eva Victor in the movie “Sorry, Baby.”
(A24)
It’s a recent quiet Monday morning at a West Hollywood vegetarian restaurant where we meet and Victor, who uses they/she pronouns and identifies as queer, peruses the menu with a mix of curiosity and enthusiasm.
Victor is a self-described pescatarian but will make the odd exception for a slider at a fancy party or a bite of the pork and green chile stew at Dunsmoor in Glassell Park, a favorite. Having moved to Los Angeles a little over a year ago to work on the editing of “Sorry, Baby,” Victor has settled into living in Silver Lake with their cat, Clyde.
“I love it — I do,” Victor says with quiet conviction. “It’s very comforting. I have all my little things I get when I’m home, but it’s been a while since I’ve been home for a bit. So I’m looking forward to being able to rest at home soon.”
After breakfast, Victor will head to the airport to go shoot a small acting part in an unnamed project and by the end of the week will make a talk show debut with an appearance on the “The Late Show With Stephen Colbert.”
“It’s been very intense for me,” Victor says of the period following Sundance. “I’m very interested in my privacy and also in routine of the day. I really like having things I do every day. It’s weird to go from making a movie for four years, basically, that nobody knows about. And then it premieres at Sundance and that’s how people find out about it and everyone finds out about it in the same night. That is a very bizarre experience for the body.”
Victor adds, “It does feel like there are a lot of layers between me and the film at this point.”
There’s an unusual, angular physicality to Victor’s performance in “Sorry, Baby,” as Agnes struggles to reengage with her own body following the assault, mostly referred to in the film as “the bad thing.”
“I keep hearing, ‘Oh, Agnes is so awkward.’ I’m like, ‘What the hell?’” says Victor, protectively. “I’m very humbled by people’s reactions to how bizarre they think that character is because I’m like: ‘Oh, I thought she was acting legitimately normal, but OK.’”
“It’s life-affirming for me to know that I wrote the film in a leap-of-faith way to be like: ‘Is anyone else feeling like this?’” says Victor. “And it’s nice to know that there are people who are understanding what that is.”
(Jason Armond / Los Angeles Times)
Victor, grew up in San Francisco and studied playwriting and acting at Northwestern University, moving to New York City after graduation with ambitions to work as a staffer on a late-night talk show. She got a job writing for the satirical website Reductress and began making short online videos of herself, many of which became offbeat viral comedy hits for the way they jabbed at contemporary culture, including “me explaining to my boyfriend why we’re going to straight pride” and “me when I def did not murder my husband,” and “the girl from the movie who doesn’t believe in love.” She also appeared as a performer on the final three seasons of the series “Billions.”
The character sketches of those videos only hinted at the nuance and complexity of which Victor was capable. Throughout “Sorry, Baby” there is a care and delicacy to how the most sensitive and vulnerable moments are handled. In the film, the sexual assault itself occurs offscreen — we don’t see it or hear it — as a shot of the facade of the teacher’s house depicts the passage of time from day to night. Later, Agnes sits in the bath as she describes to Lydie what happened, a moment made all the more disarming for the tinges of humor that Victor still manages to bring.
“At the end of the day, I really wanted to make a film about trying to heal,” Victor says. “And about love getting you through really hard times. And so the violence is not depicted in the film and not structurally the big plot point of the film. The big plot point of the film in my opinion is Agnes telling Lydie what happened and her holding it very well. That to me is sort of what we’re building to in the film — these moments in friendship over time and the loneliness of a person in between those moments.”
The relationship between Agnes and Lydie forms much of the core of “Sorry, Baby,” with the chemistry between Victor and Ackie giving off a rare warmth and understanding. The connection between the two actors as performers happened straight away.
“The script was so incredible that, to be honest with you, I already felt like I knew them,” says Ackie on a Zoom call from New York City. “There was something about the rhythm of how the writing was that made me feel like we might have something in common. When I was reading it to myself, it felt so natural in my mouth. And then we finally met and it was like all of the humor and the heart and the tragedy of the script was suddenly in a person. There was a sense of ease in the way we were talking and openness and a joyfulness and an excitedness that was kind of instantaneous.”
Naomi Ackie, left, and Eva Victor in the movie “Sorry, Baby.”
(A24)
The film is the product of an unusual development process spurred by producers Barry Jenkins, Adele Romanski and Mark Ceryak. Based on their fandom of Victor’s online videos, Jenkins reached out through DMs and set up a meeting, setting in motion the process that would eventually lead to a screenplay for “Sorry, Baby.”
“When Ava sent the first draft of ‘Sorry, Baby,’ it arrived in the way that the most special things have for me, which is fully formed,” says Romanski. “Not to say that we didn’t then go back and continue to refine it, but it just arrived so clear and so emotional. It hit from the first draft. So it felt like it would be such a shame not to figure out how to put that into a visual form that other people could experience what we were able to experience just from reading it.”
From there, the team set about making Victor feel comfortable and confident as both a filmmaker and a performer. Having already had experience working with first-time feature directors such as Charlotte Wells on “Aftersun” and Raven Jackson on “All Dirt Roads Taste of Salt,” the producing trio knew the process would require extra care and attention.
“Part of the reason this challenge felt possible is how much work we’ve done in how best to support a director in that debut space,” says Romanski. “There was a lot of confidence and assuredness around how to be that producer for that first-time filmmaker.”
The team arranged something of an unofficial directing fellowship, allowing Victor to shoot a few scenes from the script and then sit down with an editor to discuss how to improve on the footage. Victor made shot lists after watching Jenkins’ “Moonlight” and Kelly Reichardt’s “Certain Women,” leaning further into the mechanics of how to visually construct scenes. Victor also shadowed filmmaker Jane Schoenbrun during production for last year’s acclaimed “I Saw the TV Glow.”
“There was no prescriptive timeline to the course that it took,” explains Romanski. “It was just kind of, we’ll keep finding things to help you fortify and put on directorial muscle mass until you tell us, ‘I’m ready.’ And then when you say, ‘I’m ready,’ we’ll pivot to putting the movie together. There’s no blueprint for this, at least not for us. We haven’t done it quite like this before, but that’s also what’s exciting about it.”
Without ever sharing specifics, the story is rooted in Victor’s personal experience. Going back to some of their earliest press around 2018, Victor would self-describe as a sexual assault survivor. There was material about it in a stand-up comedy routine. (“It didn’t work,” Victor notes, dryly, adding that they longer do stand-up.)
The experience of making the movie and putting it out into the world has been one of potentially being continually retriggered, sent back to emotions and feelings Victor has worked hard to move forward from. Yet the process of making the film began to provide its own rewards.
“The thing about this kind of trauma is it is someone deciding where your body goes without your permission,” Victor says. “And that is surreal and absurd and very difficult. It’s very difficult to make sense of the world after something like that happens.”
The “Sorry, Baby” shoot in Massachusetts last year was a turning point, says Victor, one of validation. “The experience of directing myself as an actor is an experience of saying: This is where my body’s going right now,” says Victor. “And a crew of 60 people being like, ‘Yes.’ It’s this really special experience of being like, ‘I am saying where my body goes’ and everyone agrees. In the making of the film, that was very powerful to me.”
Eva Victor and John Carroll Lynch in the movie “Sorry, Baby.”
(A24)
Even with the success of “Sorry, Baby” and the way it has launched Victor to a new level of attention and acclaim, there is a tinge of melancholy to discovering just how many people are connecting to the film because it speaks to their own experiences.
“It’s a very personal film for a lot of people and there’s a sadness to that because it’s a community of people who have experienced things that they shouldn’t have had to,” says Victor. “It’s life-affirming for me to know that I wrote the film in a leap-of-faith way to be like: ‘Is anyone else feeling like this?’ And it’s nice to know that there are people who are understanding what that is.”
While recently back in France, Victor got another tattoo, this time on her foot, where she doesn’t see it as often.
“Maybe there’s a dash of mental illness in it,” says Victor. “But I think with tattoos, it’s such a good one, because it’s not going to hurt you but it is intense and permanent. So it is risk-taking.”
That attention to a small shift in personal perspective, a change in action and how one approaches the world, is part of what makes “Sorry, Baby” such a powerful experience. And as it now continues to make its way out to more audiences, Victor’s experience with it continues to evolve as well.
“There is a process that’s happening right now where it’s like an exhale. I’m like, whatever will be will be,” Victor says. “Putting something out into the world is a process of letting go of it. And I had my time with it and I got to make it what I wanted it to be. And now it will over time not be mine.”
The experience of making “Sorry, Baby” has pushed Victor forward both professionally and personally, finding catharsis in creativity and community.
“I guess that is the deal,” Victor offers. “That is part of the journey of releasing something. I mean it’s legitimately called a release.”
Denis Villeneuve will direct the next James Bond film, the 26th official entry in the historic franchise. Villeneuve will also serve as executive producer, alongside Tanya Lapointe.
Amy Pascal and David Heyman are producing the project, as had been previously announced. The pair came onto the film after the series’ longtime producers, Barbara Broccoli and Michael G. Wilson, made a deal to give up creative control to Amazon MGM Studios earlier this year.
In a statement, Villeneuve, a four-time Academy Award nominee, said, “Some of my earliest movie-going memories are connected to 007. I grew up watching James Bond films with my father, ever since ‘Dr. No’ with Sean Connery. I’m a die-hard Bond fan. To me, he’s sacred territory. I intend to honor the tradition and open the path for many new missions to come. This is a massive responsibility, but also, incredibly exciting for me and a huge honor. Amy, David, and I are absolutely thrilled to bring him back to the screen.”
Also in a statement, Pascal and Heyman commented, “Denis Villeneuve has been in love with James Bond movies since he was a little boy. It was always his dream to make this movie, and now it’s ours, too. We are lucky to be in the hands of this extraordinary filmmaker.”
Villeneuve’s last film, “Dune: Part Two,” earned more than $700 million worldwide. He is preparing to begin shooting the third “Dune” movie this summer with a scheduled release date of Dec. 16, 2026.
Daniel Craig and Ana de Armas in “No Time to Die,” which marked Craig’s final film in the James Bond franchise.
(Nicola Dove / MGM)
The prior film in the Bond franchise, 2021’s “No Time to Die,” finished off Daniel Craig’s five-film run in the role, which began with 2006’s “Casino Royale.”
A screenwriter hasn’t yet been named and no announcement has been made as to who will take over playing the famed British secret agent.
Mike Hopkins, head of Prime Video and Amazon MGM Studios, said in a statement, “We are honored that Denis has agreed to direct James Bond’s next chapter. He is a cinematic master, whose filmography speaks for itself. From ‘Blade Runner 2049’ to ‘Arrival’ to the ‘Dune’ films, he has delivered compelling worlds, dynamic visuals, complex characters, and — most importantly — the immersive storytelling that global audiences yearn to experience in theaters. James Bond is in the hands of one of today’s greatest filmmakers and we cannot wait to get started on 007’s next adventure.”
“We’ve had a good couple of days training. We’re looking forward to the game now.”
England u21s clash with Germany SUSPENDED as stadium plunged into semi-darkness and players taken off pitch
After Carsley’s side slapped Spain 3-1 in the quarter-finals on Saturday, he is now hoping they produce another masterclass to sink the Dutch.
He said: “Ideally and I’ve spoken to the players about it, you want to coach a team where you watching them play and you’re enjoying watching them. That Spain game and the second half of the Germany game, you are on the side, enjoying watching the players play and expressing themselves.
“You want foreign journalists to speak about our players the way we sometimes speak about their players, in terms of their technical ability or the way they can take the ball.
“We’re definitely changing that perception of English players.”
His side beat Portugal 1-0 last time out despite Ruben van Bommel’s 21st- minute red card.
4
Michael Reiziger has been impressed by England’s style of playCredit: Getty
Reiziger said: “They’re not playing in a typical English style.
“They are playing really well with a lot of good quality and they are growing into the tournament.
“It will be a tough game but that is logical.
“We’ve watched every match of England.
“Two strong teams that love to play football, two teams that have quality.
“It is going to be an interesting game. We have some comparison with England.
“We started not that well but are getting better every time, resulting in the fact we won a game with ten men.”
After over two decades of misery in penalty shootouts, Sir Gareth Southgate helped instil a no fear factor into England players, with the seniors winning three of their last four.
And Carsley insists his lads are ready for penalties if it comes down to it tonight. He said: “There’s more of an awareness of penalties and the technique and structure that goes behind a shoot-out.
“We are fortunate to have a lot of players who take penalties for their clubs.
“It is very difficult to replicate the walk from the halfway line to the penalty spot, especially if you are not used to it.
“It’s something Gareth pushed which filtered down the pathway.
“It is so important because of the amount of resources thrown at the senior team to be the best at shootouts.
“That awareness of how important they are has definitely trickled down and we have benefited from that.”
England’s Under-21 Euros squad in FULL
ENGLAND are looking to retain their status as Under-21 European champions this summer in Slovakia.
Here is Lee Carsley’s full squad for the blockbuster tournament:
Goalkeepers: James Beadle (Brighton and Hove Albion), Teddy Sharman-Lowe (Chelsea), Tommy Simkin (Stoke City)
Defenders: Charlie Cresswell (FC Toulouse), Ronnie Edwards (Southampton), CJ Egan-Riley (Burnley), Tino Livramento (Newcastle United), Brooke Norton Cuffy (Genoa), Jarell Quansah (Liverpool)
Midfielders: Elliot Anderson (Nottingham Forest), Archie Gray (Tottenham Hotspur), Hayden Hackney (Middlesbrough), Jack Hinshelwood (Brighton and Hove Albion), Tyler Morton (Liverpool), Alex Scott (AFC Bournemouth)
Forwards: Harvey Elliott (Liverpool), Omari Hutchinson (Ipswich Town), Sam Iling Jnr (Aston Villa), James McAtee (Manchester City), Ethan Nwaneri (Arsenal), Jonathan Rowe (Marseille), Jay Stansfield (Birmingham City)
The ongoing ICE sweeps taking place across Los Angeles and the country have underscored the many challenges faced by immigrant communities. For decades, migrants across Latin America have traversed rugged terrain and seas in search of a better life in the United States, often risking their lives in the process. Various films have captured the complexities of the Latino immigrant experience. Here are five of them.
“El Norte” (1983) directed by Gregory Nava
Siblings Rosa and Enrique Xuncax (played by Zaide Silvia Gutiérrez and David Villalpando, respectively) decide to flee to the U.S. after their family is killed in the Guatemalan Civil War, a government-issued massacre that decimated the country’s Maya population. After a dangerous trek through Mexico, Rosa and Enrique find themselves in Los Angeles, the land of hopes and dreams — or so they think. The 1983 narrative is the first independent film to be nominated for an Academy Award for original screenplay; it was later added to the National Film Registry in 1995.
Decades later, “El Norte” still feels prescient.
“[Everything] that the film is about is once again here with us,” Nava told The Times in January. “All of the issues that you see in the film haven’t gone away. The story of Rosa and Enrique is still the story of all these refugees that are still coming here, seeking a better life in the United States.”
“Under the Same Moon” (2007) directed by Patricia Riggen
Separated by borders, 9-year-old Carlitos (Adrián Alonso) yearns to reunite with his mother, Rosario (Kate del Castillo), who left him behind in Mexico with his ailing grandmother. After his grandmother passes, Carlitos unexpectedly flees alone to find his mother in Los Angeles, encountering harrowing scenarios as he pieces together details of her exact location. Directed by Patricia Riggen as her first full-length feature, it made its debut at Sundance Film Festival in 2007, where it received a standing ovation.
“All these people risked their lives crossing the border, leaving everything behind, for love,” says Riggen. “For love of their families who they’re going to go reach, for love of their families who they leave behind and send money to. But it always has to do with love and family.”
“Una Noche” (2012) directed by Lucy Mulloy
There is no other option but the sea for the three Cuban youths in “Una Noche” who attempt to flee their impoverished island on a raft after one of them, Raúl, is falsely accused of assaulting a tourist. Lila follows her twin brother Elio, who is best friends with Raúl, but all is tested in the 90 miles it takes to get to Miami. The 2012 drama-thriller premiered in the U.S. at the Tribeca Film Festival, where it won three top awards; its real-life actors Anailín de la Rúa de la Torre (Lila) and Javier Nuñez Florián (Elio) disappeared during the screening while in a stopover in Miami, later indicating that they were defecting.
By this time, it was not uncommon to hear of Cuban actors and sports stars defecting to the U.S.
“[Anailín and Javier] are quite whimsical and I can see how they’d decide to do something like this,” said director Lucy Mulloy when the news broke in 2012. “But this is also an important life decision, and no one in Cuba takes it lightly.”
“I’m No Longer Here” (2019) directed by Fernando Frías de la Parra
Ulises (Juan Daniel García Treviño) shines as the leader of Los Terkos, a Cholombiano subculture group in Monterrey known for their eclectic fashion and affinity for dancing and listening to slowed down cumbias. But after a misunderstanding makes him and his family the target of gang violence, he flees to New York City, where he must learn to navigate the unknown world as an individual at its fringes. The 2019 film swept Mexico’s Ariel awards upon its release and was shortlisted in the international feature film category to represent Mexico at the 93rd Academy Awards.
The contemporary film provided a nuanced perspective on the topic of migration that did not always hinge on violence.
“The idea was to have a film that is more open and has more air so that you can, as an audience, maybe see that yes, violence is part of that environment,” said director Fernando Frías de la Parra to The Times in 2021. “But so is joy and growth and other things.”
“I Carry You With Me” (2020) directed by Heidi Ewing
Iván’s (Armando Espitia) life appears at a standstill — he’s a busboy with aspirations of becoming a chef, and a single dad to his 5-year-old son who lives with his estranged ex. But his monotonous life changes when he meets Gerardo (Christian Vázquez) at a gay bar, which shifts his journey into a blooming love story that traverses borders and decades. The story is inspired by the real-life love story of New York restaurateurs Iván García and Gerardo Zabaleta, strangers-turned-friends of director Heidi Ewing, a documentary filmmaker by training. The 2020 film first premiered at the Sundance Film Festival, where it won the NEXT Innovator and Audience Awards.
Nostalgia was a crucial element for the film, a poignant feeling for those unable to return.
“Sometimes I dream about when I was a kid in Mexico and that makes my day,” said García to The Times in 2021. “That’s all we have left, to live off our memories and our dreams.”
One of the oldest movie studios in Los Angeles is up for sale, perhaps to the newest generation of content creators.
The potential sale of Occidental Studios comes amid a drop in filming in Los Angeles as the local entertainment industry faces such headwinds as rising competition from studios in other cities and countries, as well as the aftermath of filming slowdowns during the pandemic and industry strikes of 2023.
Occidental Studios, which dates back to 1913, was once used by Mary Pickford and Douglas Fairbanks to make silent films. It is a small version of a traditional Hollywood studio with soundstages, offices and writers’ bungalows in a 3-acre gated campus near Echo Park in Historic Filipinotown.
Kermit the Frog above the Jim Henson Company studio lot in Hollywood.
(AaronP/Bauer-Griffin/GC Images)
The seller hopes its boutique reputation will garner $45 million, which would rank it one of the most valuable studios in Southern California at $651 per square foot. A legendary Hollywood studio founded by Charlie Chaplin in 1917 sold last year for $489 per foot, according to real estate data provider CoStar.
The Chaplin studio known until recently as the Jim Henson Company Lot was purchased by singer-songwriter John Mayer and movie director McG from the family of famed Muppets creator Jim Henson.
Occidental Studios may sell to one of today’s modern content creators in search of a flagship location, said real estate broker Nicole Mihalka of CBRE, who represents the seller.
She declined to name potential buyers but said she is showing the property to new-media businesses who don’t present themselves through traditional channels such as television shows and instead rely on social media and the internet to reach younger audiences.
Occidental Studios, which dates back to 1913, was once used by Mary Pickford and Douglas Fairbanks to make silent films.
(CBRE)
New media entrepreneurs may not often need soundstages, “but they like the idea of having the history, the legacy” of a studio linked to the early days of cinema, she said. It might lend credibility to a brand and become a destination for promotional activities as well as being a place to create content, she said. Mihalka envisions the space being used for events for partners, sponsors and advertisers as well as press junkets for new product launches.
Entertainment businesses located nearby include filmmaker Ava DuVernay’s Array Now, independent film and production company Blumhouse Productions and film and production company Rideback Ranch.
Neighborhoods east of Hollywood such as Los Feliz, Silver Lake, Echo Park and Highland Park have become home to many people in the entertainment industry, which Mihalka hopes will elevate the appeal of Occidental Studios.
“We’ve been seeing film and TV talent heading this way for a while,” she said, including executives who also live in those neighborhoods.
The owner of of Occidental Studios said it’s gotten harder for smaller studios to operate in the current economic climate that includes competition from major independent studio operators that have emerged in recent decades.
“Once upon a time, you did not have multibillion-dollar global portfolio companies swimming in the waters of Hollywood,” said Craig Darian, chief executive of Occidental Entertainment Group Holdings Inc., citing Hudson Pacific Properties, Hackman Capital Partners and CIM Group. “They are not content producers, but have a long history of providing services for multiple television shows and features.”
Competition now includes overseas studios in such countries as Canada, Ireland and Australia, he said. “When production was really robust and domiciled in Los Angeles, it was much easier to remain very competitive.”
Another factor threatening the bottom line for conventional studios is rapidly changing technology used to create entertainment including tools as simple as lighting.
“You used to know that equipment would last for decades,” Darian said. “The new tools for production are becoming obsolete in far shorter order.”
Writers’ bungalows at Occidental Studios.
(CBRE)
Nevertheless, Darian said, the potential sale “is not motivated by distress or urgency. Nothing is driving the decision other than the timing of whether or not this remains to be a relevant asset to keep within our portfolio. If we get an offer at or above the asking price, then we’re a seller.”
Darian said he may also seek a long-term tenant to take over the studio.
Occidental Studios at 201 N. Occidental Blvd. comprises over 69,000 square feet of buildings including four soundstages and support space such as offices and dressing rooms.
It’s among the oldest continually operating studios in Hollywood, used by pioneering filmmakers Cecil B. DeMille, D.W. Griffith and Pickford, who worked there as an actress and filmmaker in its early years. Pickford reportedly kept an apartment on the lot for years.
More recently it has been used for television production for such shows as “Tales of the City,” “New Girl” and HBO’s thriller “Sharp Objects.”
Local television production area declined by 30.5% in the first quarter compared with the previous year, according to he nonprofit organization FilmLA, which tracks shoot days in the Greater Los Angeles region. All categories of TV production were down, including dramas (-38.9%), comedies (-29.9%), reality shows -(26.4%) and pilots (-80.3%).
Feature film production decreased by 28.9%, while commercials were down by 2.1%, FilmLA said.
The latest round of California’s film and television tax credit program will provide government incentives to 48 upcoming projects, according to the California Film Commission.
The slate, which includes both major studio projects and independent films, is expected to employ more than 6,500 cast and crew members and 32,000 background performers, measured in days worked. These projects will pay more than $302 million in wages for California workers, the commission said Monday.
The projects are estimated to collectively generate $664 million in total spending throughout the state.
Of the awarded films, five are features from major studios, including the sequel to Sony Pictures’ “One of Them Days,” which is expected to receive almost $8 million in tax credits and spend $39 million in qualified expenditures.
An untitled Netflix project, which is set to film in California for 110 days, is expected to receive the largest credit of the slate at $20 million.
The rest of the awarded projects are independent, with 37 of them operating on budgets under $10 million. More than half of the films will be shot in the Los Angeles area, the commission said.
“California didn’t earn its role as the heart of the entertainment world by accident — it was built over generations by skilled workers and creative talent pushing boundaries,” Gov. Gavin Newsom said in a statement. “Today’s awards help ensure this legacy continues, keeping cameras rolling here at home, supporting thousands of crew members behind the scenes and boosting local economies that depend on a strong film and television industry.”
The announcement comes as the industry has expressed concern over the amount of production fleeing California in favor of other states or countries that offer more attractive tax incentives.
Late last year, Newsom proposed an increase to the state’s film and TV tax credit, upping the annual tax credit allocation from $330 million to $750 million in an attempt to keep production in California.
In March, the commission announced it was selecting a record 51 projects with tax incentives, marking the most amount of awarded films in a single application window.
When one man saw film crews working their magic in Benidorm, he and other desperate fans all jumped to the same sitcom-related conclusion – but some disputed it
12:03, 23 Jun 2025Updated 12:07, 23 Jun 2025
Film crews have been spotted in Benidorm (Stock Image)
Rumours are circulating in Benidorm that something exciting is happening – and it’s all about the TV show of the same name. The last series of Benidorm aired in the UK in 2018. For those not in the know, Benidorm is a sitcom that focuses on the adventures of a group of British holidaymakers staying at the Solana holiday resort in Spain.
Back in April, fans started speculating that the show would be making a comeback, despite the fact that the creator, Derren Litten, confirmed in 2019 that the tenth series would be the last. But when a TikToker spotted a film crew in Benidorm, he jumped to the conclusion that they must be filming the elusive 11th series.
Harry, a Brit in Benidorm who posts on TikTok as @harrytokky, wrote over the top of a video of a film crew on the strip: “Breaking news. Film crews are filming right now in Benidorm outside the Red Lion”.
At the bottom of the video, he penned: “Wait… are they filming Benidorm series 11 right now?! What do you think?”
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He showed the camera crew filming, as he gushed: “Holy moly, this is unbelievable”. In the short clip, someone in the background could be heard saying they thought it was Benidorm series 11.
However, in the comments, people were sceptical, and one woman even put the rumour to bed with the information she’d managed to get from film crews.
“I doubt they’d film in peak season,” a sceptic wrote, but someone shared: “Another 4 weeks until peak season. They film in the ‘Solana’ with people on holiday there. They just close off one end of the pool”.
“They use the tourists as extras in Benidorm, it’s well known,” another man alleged.
Others shared that it couldn’t be Benidorm, because none of the beloved actors could be seen in the video. One fumed: “Not hard to tell if it’s Benidorm or not.”
And another penned: “Not to be a Debbie Downer, but Benidorm hasn’t officially been commissioned, so unless this is for an announcement ad (which I highly doubt), it’s not Benidorm unfortunately”.
But someone argued, saying: “Makes sense it would be Benidorm though, cause Darren and all the main cast have been cryptic as f*** lately online trying to hint to the fans about a season 11 coming, wouldn’t talk about it if there was no chance and now this. I’d say it’s likely I can’t lie”.
However, others said they’d seen the crew themselves and stopped to ask more questions. One tourist claimed: “We were walking down before and my dad asked the light crew. They said they can’t say what it is but it’s a Spanish program!!!!!”
Meanwhile, someone else alleged: “They’re making a film, not Benidorm. I asked them last night.”
Do you think season 11 of Benidorm will ever happen? Let us know in the comments…
