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      Kate Winslet on ‘The Regime’ and Resilience In Hollywood

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      Kate Winslet was standing in front of a microphone, breathing hard. Sometimes she did it fast; sometimes she slowed it down. Sometimes the breathing sounded anxious; other times, it was clearly the gasping of someone who was winded. Before beginning a new take, Winslet stood stock still, hands opening and closing at her sides; she looked like a gymnast about to bound into a floor routine. Every breath seemed high-stakes, even though she was well into a long day of recording in a dim, windowless studio in London. Listen to this article, read by Kirsten PotterOpen this article in the New York Times Audio app on iOS.Winslet was adding grace notes to scenes of herself in “The Regime,” a dark satire created by Will Tracy, a writer and producer on “Succession,” that began airing on Max in early March. Winslet plays Elena Vernham, a dictator ruling precariously over an imaginary Central European country, and she was in the studio rerecording (as is common practice) lines that needed improving, including snippets of Elena’s propaganda: “Even if the protests happening in Westgate were real, which they are not” and “He’s still out there, working with the global elite to destroy everything we’ve built.” Sometimes Winslet laughed out loud after delivering a line, and sometimes she fell completely silent, absorbed in watching a scene of herself with her new recording looped in. “God, she’s such an awful, awful cow,” she said at one point, sounding appalled but also a little awed. The part of Elena, a despot on the verge of a nervous breakdown, is a departure for Winslet, who has chosen, over the course of her career, a wide range of characters who have in common an intrinsic power. Elena is erratic and grasping, with a facade of strength that covers up a sinkhole of oozing insecurity. Winslet gave a lot of thought to how Elena would sound: She chose a high, tight voice, the sound of someone disconnected from the feelings that reside deep in the body. Elena has the slightest of speech impediments, a strange move she makes with her mouth, a hand that flies to her cheek when she is under real stress — those tells are her answer to King Richard’s hump, the body politic deformed. Onscreen, as Elena, Winslet is coifed and practically corseted into form-fitting skirt suits, with lacquered fake nails. The day she was recording, in early January, Winslet might have been any woman at the office: blond hair, a hint of roots starting to show, jeans of no particular timely style that she occasionally tugged up from the waist, a black V-neck sweater she occasionally pulled down at the hem. It’s only when you look directly at her, face to face, that you see the extraordinary — the dark blue eyes, the beauty marks (not one, but two), the elaborately curved mouth.As Winslet recorded, Stephen Frears, one of the show’s two directors, guided Winslet with considerable understatement from his seat across the room: a half-nod here, a thumbs-up there. “Was that all right, Stephen?” Winslet called over after one take; she peered over in his direction, expectant, obedient, professional. Frears, who directed “The Queen” and “Dangerous Liaisons,” among others, was silent, with his eyes closed, his head back. Winslet and a few members of the production team waited for his approval. As the moment stretched on, it seemed that Frears was not deep in thought but deep in sleep. Winslet appeared to register a brief moment of surprise, then smiled and moved on — all right, no problem. We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The ‘Dune’ Popcorn Bucket and the Golden Age of Movie Merch

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      The hilariously suggestive misfire is a reminder of the days when too-weird-to-be-true film mementos could be found in every kitchen cupboard.When I first encountered an image of the popcorn bucket that AMC Theaters is selling to promote Denis Villeneuve’s “Dune: Part Two,” I stared at it for a beat trying to process what I was looking at. The item is supposed to represent a giant sandworm, the beasts that slither under the desert planet Arrakis. On top of the normal container sits a lid that depicts the cylindrical body of the creature emerging from the ground. The opening where you are ostensibly supposed to reach in to snatch some kernels is fashioned like the worm’s maw with its many tendril-like teeth, here rendered in plastic. The bucket is intricately designed, but appears, well, especially anatomical — to put it politely — and somewhat difficult to use to actually get treats into your mouth.The “Dune” popcorn bucket has become a genuine mini phenomenon. The film’s cast and crew have been asked to comment on it, and Villeneuve even told The Times, charmingly, “When I saw it, I went, ‘Hoooooly smokes.’” There was a “Saturday Night Live” sketch that rhymed “bucket” with a phrase that is unprintable here. Yet, the more I followed talk of the bucket, the more I wanted to possess it. (And no, not for the reasons you’re thinking. Get your mind out of the gutter, please.) As a fan of movies and their ephemera, I began to feel as though I needed to have this piece of hilariously suggestive memorabilia in my home.The bucket, both in its sheer strangeness and in the way it has become a cultural moment, reminded me of an earlier era of collectibles — of tie-ins like those McDonald’s “Batman Forever” mugs with badly drawn versions of Jim Carrey’s Riddler that seemed to be a mainstay in 1990s cupboards. But it also is reminiscent of the too-weird-to-be-true marketing misadventures of yore, things that are so unintentionally off-putting that they are also sort of amazing. See the Jar Jar Binks lollipop in which the Gungan alien’s mouth opens to reveal a candy tongue that you are supposed to suck. Ew, to say the least.In some ways the “Dune” bucket is “ingenious,” said Griffin Newman, an actor and merchandise obsessive, because it inspires people to go to movie theaters to buy it. Tony Cenicola/The New York TimesThere’s even a history of this with “Dune” itself. When David Lynch’s 1984 version of the Frank Herbert epic was released, you could buy a sandworm action figure that, once again, looked unnervingly phallic. (There’s one on eBay if you’re willing to shell out.)Not all of my nostalgia is for the unsavory. The recent frenzy reminded me of the things I used to covet when I was a wee fan starting to fixate on film. My main obsession was Peter Jackson’s “Lord of the Rings” trilogy, so when Burger King released a line of light-up goblets with the visages of characters like Aragorn and Arwen etched on their sides, I knew I needed them. (I had other “LOTR”-themed glassware as well, including mugs that revealed the inscription on the Ring of Power when you filled them with hot liquid. Pretty sure those are still in my parents’ house.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Adam Sandler’s ‘Spaceman’ Has an Identity Crisis, Like Many Space Movies

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      With the release of Adam Sandler’s odd, middling and expensive new Netflix film, a look at space movie misfires of the past and how history repeats itself.Not long into “Spaceman,” Adam Sandler’s new somber sci-fi space movie on Netflix, it becomes quite clear that it’s struggling to channel something greater, something better, something already respected.Sandler’s character, a Czech cosmonaut named Jakub, has spent many months alone in a ship investigating a mysterious purple cloud — alone except for an alien arachnid called Hanus (voiced by Paul Dano). Hanus speaks to Jakub — about fear, guilt, pain and the origins of the universe — in a soothing yet stilted tone, evoking the voice of HAL 9000, the conflicted A.I. entity in Stanley Kubrick’s “2001: A Space Odyssey,” from 1968.The central themes in “Spaceman,” loneliness and disconnection, are fundamental in many cerebral space movies including “2001,” but perhaps more so in Andrei Tarkovsky’s 1972 Soviet space drama, “Solaris,” about a small crew of scientists who come mentally undone. “Spaceman” also has some “Gravity,” some “Interstellar,” some “First Man,” some “Ad Astra,” the New York Times film critic Alissa Wilkinson wrote in her review.Many middling sci-fi space movies have faced such fates: measured not by what they are but by what they wished they were. Often these films have the potential to be brilliant. “Spaceman” was directed by Johan Renck, who won two Emmys in 2019 for his work on the HBO mini-series “Chernobyl”; Sandler, while a comedian, has soared in complex dramatic roles, notably in “Uncut Gems” and “Punch-Drunk Love”; Jakub’s wife is played by Carey Mulligan, who is up for a best actress Oscar this month for “Maestro.”What is toughest to forgive, though, is that “Spaceman” commits the biggest movie no-no of all: It’s boring. “It is not fun-bad,” Wilkinson writes. “It is maudlin-bad, belabored-bad and also pretty boring-bad.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      In ‘Oppenheimer’ and ‘The Zone of Interest,’ We Hear What We Are

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      Humans have spent much of history coming up with novel ways to exterminate one another, but the defining feature of modern violence is its technologization. With a chilling practicality, systems and tools designed to enhance productivity can also separate the killers from the killing, stifling pesky human impulses like empathy and conscience. But a bomb has only one purpose. So does a concentration camp.Both “Oppenheimer” and “The Zone of Interest” tangle with the psychology involved in creating highly efficient killing machines. Choosing to center on people who make and deploy lethal tools at roughly the same historical moment — an era of unprecedented technological advancement — the filmmakers faced a challenge. Viscerally depicting the psychic gulf between methods of massacre and their creators is not simple in a medium like film. Cinema tends to enforce closeness between us and the characters; we see the wrinkles in their skin, understand them as humans, feel their emotions and project our own onto them. To portray cognitive dissonance requires something unexpected.The solution, for both of these movies, lay in the second most powerful tool available to filmmakers: sound. Not the music, but the knocks and steps and whizzes and shrieks. Generally we’re used to the sound in a film supporting the images. In both “Zone” and “Oppenheimer,” though, sound plays against image in a way that draws attention to itself, disconcerting the audience. Both films are up for Academy Awards in multiple categories, including best picture, which means their nominations for sound design are easy to overlook. But the way each uses sound is striking. It’s engineered as an unsettling agent, a means to carry moral weight from the screen to the audience on a level that approaches the subconscious.THE DIRECTOR OF “OPPENHEIMER,” Christopher Nolan, has long played around with sound in his films, which are often very loud and propelled by an intense, driving score. (Watching one of his films can feel at times as if you’re immersed in one very, very long montage.) Nolan also prefers not to rerecord actors’ dialogue, leaving them mixed into the sound as they were recorded during the performance, which can make them a little hard to hear. He knows, and he doesn’t mind.“Oppenheimer,” with sound design by the frequent Nolan collaborator Richard King, is no different. Most of the three-hour movie, about the creation of the atomic bomb, is guys in suits, talking about fission and geopolitics and other brainy matters over a pulsating score by Ludwig Goransson. But right around the two-hour mark, something startling occurs.If you’ve seen the film, you know the moment. The scientists of the Manhattan Project and select military officials have gathered in the New Mexico desert for the Trinity test, the first trial detonation of a nuclear bomb. It is the wee hours of July 16, 1945. If the test goes well, two more bombs will be deployed in mere weeks to kill hundreds of thousands of Japanese — and, the scientists hope, end the war.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      “Barbie” and “Poor Things” Show Two Versions of Female Liberation

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      The Oscar best picture hopefuls “Barbie” and “Poor Things” look nothing alike, but their central characters go on similar journeys.One takes place in a bright, plastic world where everything is coated in pink. The other takes place in an isolated black-and-white world that transforms, “Wizard of Oz” style, into a flashy, steampunk domain.Though they’re very different stylistically, the Oscar-nominated films “Barbie” and “Poor Things” are both modern feminist fables about the making of a woman. Both reframe the common stops on the coming-of-age story: The protagonists begin in a state of childlike innocence, then, each in her own way, pass through motherhood, ending in a place where they are both and neither mother and daughter, creating their autonomy from the place between these two states of womanhood.“Poor Things,” from the director Yorgos Lanthimos, takes its concept from Mary Shelley’s “Frankenstein,” in which a genius scientist jigsaws together and gives life to a monster who wreaks havoc while on an existential quest for knowledge. Here the Dr. Frankenstein is Godwin Baxter (Willem Dafoe), and his monstrous creation is Bella (Emma Stone), a woman he has resurrected.At first Bella babbles and stumbles around like a precocious toddler, learning to speak and move by imitating the adults around her. She then goes through a kind of adolescence beginning the moment she discovers sexual pleasure. Her sexual curiosity spurs larger curiosities about the world.Through sex she discovers what she wants, and claims her agency to pursue it. She travels the world with a spineless cad, Duncan Wedderburn (Mark Ruffalo), enjoying the rampant sex they have along the way. She’s fiercely independent the whole time, even though she has traveled far from the bleak, isolated black-and-white world of the Baxter home, where she was hidden away and always under supervision, into a colorful, wild world that appears as awe-inspiring and unfamiliar to her as it may to the audience, who find fresh new versions of cities like Lisbon and Paris.It’s when Bella decides to work in a Paris brothel that she experiences the most freedom. She goes to lectures, political meetings and reads voraciously while earning her keep through sex. She’s no longer simply the naïve daughter, seeing the world through Godwin’s warnings and advice. And she’s not the partner for Duncan, forced to tolerate his tantrums and fits in exchange for access to the larger world.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Robert M. Young, Filmmaker Who Indulged His Wanderlust, Dies at 99

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      The subjects of his documentaries included Indigenous peoples, civil rights sit-ins and the war in Angola. His narrative films included “Extremities” and “The Ballad of Gregorio Cortez.”Robert M. Young, an eclectic director whose documentary subjects included civil rights lunch counter sit-ins and sharks, and whose feature films included one about a Mexican American farmer who kills a Texas lawman and one about a woman who takes revenge on her attacker, died on Feb. 6 in Los Angeles. He was 99.The death, in a hospital, was confirmed by his son Andrew.In an interview with the Directors Guild of America in 2005, Mr. Young recalled what attracted him to filmmaking.“I wanted to be in life,” he said. “I wanted to be having adventures, I wanted to be living in the world.”He more than fulfilled that ambition.In the 1950s, he created educational films with two partners, most notably “Secrets of the Reef” (1956), an underwater documentary made at Marineland Studios in Florida and at a reef near the Bahamas that portrayed the life cycles of octopuses, sea horses, lobsters, jellyfish and manta rays.Mr. Young, center, working on the 1956 documentary “Secrets Of The Reef,” which portrayed the life cycles of octopuses, sea horses, lobsters, jellyfish and manta rays.Everette CollectionIn 1960, he was hired by NBC News for its new documentary series, “White Paper.” That year he directed “Sit-In,” about the Black college students whose protests led to the desegregation of lunch counters in downtown Nashville. The next year he worked on a report about the Angolan war for independence against Portugal, for which he walked hundreds of miles with Angolan rebels. The Portuguese government was unhappy with the report.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How Sean Ono Lennon Helped His Parents Send a Message.

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      To keep their legacy relevant for a new generation, he worked on the short “War Is Over! Inspired by the Music of John & Yoko.” Now it’s up for an Oscar.Three years ago, Sean Ono Lennon was asked to develop a music video for the 50th anniversary of “Happy Xmas (War Is Over),” the 1971 protest song by his parents, John Lennon and Yoko Ono, which has become a rare type of perennial — a warmhearted Christmas tune that doubles as an antiwar challenge, telling ordinary citizens that peace can be achieved “if you want it.”But Lennon, 48, was not interested in making a simple video. That “felt unnecessary” for such a well-known track, he said in a recent interview. What intrigued him more was the possibility of expanding the song’s message through a narrative film. After about two years of work, that project became “War Is Over! Inspired by the Music of John & Yoko,” directed by Dave Mullins, which was nominated for an Academy Award for best animated short film.The 11-minute picture is set in a World War I-like battle zone where two soldiers on opposing sides take part in a secret chess game, communicating their moves via a homing pigeon that dodges bombs over a snowy No Man’s Land. In the story’s climax, both armies are ordered into bloody hand-to-hand combat while the opening lines of John and Yoko’s song ring out: “So this is Christmas/And what have you done?”“It’s not about mining the past,” Lennon said of the project. It’s aimed at “people who have not grown up with the same culture and art that most people my age and older take for granted.”ElectroLeagueFor Sean Lennon, who in recent years has gradually taken on the responsibility of managing his parents’ artistic legacies — his mother, 91, has officially retired — the film is part of a continual process to keep that work relevant for younger generations. He is well aware that even a Beatle’s classic can fade away without tending.“It’s not about mining the past,” Lennon said by phone. “You’re competing with generations of people who have not grown up with the same culture and art that most people my age and older take for granted. So, for me, it’s very important that the message of peace and love, which may be a trope, are not forgotten.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How an Argument Resonates in ‘Anatomy of a Fall’

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      The director Justine Triet narrates a sequence from her film, which is nominated for best picture. Triet is also nominated for best director.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.A couple has an argument that escalates in this scene from “Anatomy of a Fall,” the drama from Justine Triet that won the Palme d’Or at Cannes in 2023, then went on to receive five Oscar nominations this year, including best picture.In the film, the couple’s fight begins as audio that is presented in court where Sandra (Sandra Hüller) is on trial for the death of her husband, Samuel (Samuel Theis).Then, Triet makes the choice to show visuals of the fight, rather than only providing us the sound. We move from the courtroom into this domestic scene in the kitchen. Narrating the sequence, she explained that “sound has the power to give the perfect illusion of the present,” so she wanted to add visuals to give a more complete picture of the fractures between these two people.Triet decided to shoot the scene with two cameras, “not to lose any of their energy,” she said. And she wanted to the scene to take place during daylight, with the sun shining through a window.“Often, very dramatic, intimate scenes are used to being filmed at night, as if intimacy were separate from the rest of life,” she said. “And here, I choose the opposite. And the contrast between light and violence is even stronger for me.”Read the “Anatomy of a Fall” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More