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      ‘The Interview’: Jenna Ortega Is Still Recovering From Child Stardom

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      If you have a tween daughter, as I do, you know that Jenna Ortega is a big deal. In 2022, Ortega starred as the title character in Netflix’s “Addams Family” reboot, “Wednesday,” and quickly became beloved by viewers for her character’s snarky, dark and brutally honest personality. The show was a hit, and suddenly Wednesday — and by extension Ortega — were everywhere: on merch, on the streets for Halloween and all over the internet doing her meme-able dance moves. It was the kind of star-making, culture-saturating role that is life-changing for a young actor. It was also, as Ortega told me over the course of our two conversations, completely disorienting to become so famous so fast.Listen to the Conversation With Jenna OrtegaThe actress talks about learning to protect herself and the hard lessons of early fame.Subscribe: Apple Podcasts | Spotify | YouTube | Amazon | iHeart | NYT Audio AppOrtega didn’t appear out of nowhere. She started as a child actor on the Disney Channel, played the young version of Jane in the CW series “Jane the Virgin” and later starred in the “Scream” and “X” horror franchises. Now she is 21. Her next big role is in the new movie “Beetlejuice Beetlejuice,” the sequel to Tim Burton’s 1988 classic, which opens nationwide on Sept. 6. (Burton also directed several episodes of “Wednesday.”) Ortega plays the daughter of Winona Ryder’s character, and she told me that they bonded over each having found enormous success in Hollywood at a young age.When we spoke — I caught her in Ireland, where she was filming the second season of “Wednesday” — I found Ortega to be a thoughtful and curious person who, like many young people, is still finding out who she is. “I’m just navigating,” she says of this stage of her life. “I’m on my own little personal expedition.” Only she is doing it under the glare of a massive spotlight.When did you first see the original “Beetlejuice”? Honestly, I can’t really put a date on it. I feel like I had to have seen it maybe when I was 8 or 9. I was terrified of everything when I was younger. I actually had a recurring nightmare about Beetlejuice. I saw a really terrible Halloween costume before I really knew what the movie was, and I think that the mold and smearing, bleeding green and black Party City makeup gave me a scare. I just remember that image, and then I watched the movie later, and I thought, Oh, man, this is what the guy was dressed as. This is just as scary.What were your nightmares about Beetlejuice? I shared a room my entire life growing up. I was the bottom bunk on a bunk bed, and I had a dream that Beetlejuice would come down and swing around the banister to my bunk wearing a Superman cape, and he would offer me grape juice and say, “Got any grape?” More

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      Venice Film Festival: How It Became an ‘Oscar Launchpad’

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      For the past decade, not a year has gone by without major awards-season contenders bowing at the festival.These days the race for the Oscars starts in Venice. Of the past 10 best picture winners, four have premiered on the lagoon, including, most recently, Chloé Zhao’s “Nomadland” in 2020. That film also took the festival’s main prize, the Golden Lion, making it the second film after Guillermo del Toro’s “The Shape of Water” (2017) to claim that double distinction.This is a remarkable turnaround for a film festival, which opens on Wednesday and runs through Sept. 7, whose international standing was slipping in the early aughts. Much of the credit for this reversal of fortune goes to the festival’s leader, Alberto Barbera. When Barbera’s current term as artistic director began in 2012, the festival was struggling to attract films by Hollywood studios.“It was much easier to go to Toronto to spend less money and to make a proper promotion for the domestic market,” Barbera said, referring to the Toronto International Film Festival, which is held in early September. “But losing the presence of Hollywood studios was a big risk for Venice,” he continued, adding that he feared a disastrous chain effect if major American studios turned their backs on his festival.After Alberto Barbera became the artistic director of the Venice Film Festival in 2012, he went to Los Angeles twice a year to court Hollywood executives.Yara Nardi/ReutersBarbera convinced the Venice Biennale, which runs the festival, to renovate screening rooms and facilities that had not been updated in decades. He also flew to Los Angeles twice a year to meet with the heads of studios and independent film companies to court them.In his second summer on the job, Barbera’s efforts bore fruit when the festival opened with Alfonso Cuarón’s “Gravity,” which starred George Clooney and Sandra Bullock.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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      Venice Film Festival: Filmmakers Race to Finish Their Movies

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      With the Venice Film Festival beginning, filmmakers are racing to the finish line to have their work ready for screening.When a movie is selected to premiere at a festival, it’s a time of celebration for the filmmakers. But it’s not an end to their labors.Very often, there’s work left to be done on the movie before it’s unveiled to the world. While fans excitedly scroll through the latest showcase at an upcoming festival, some of the filmmakers might still be sweating over making their movies look and sound exactly as intended.It’s all a normal part of the process when postproduction and festival calendars overlap, whether at the Venice Film Festival, which opens on Wednesday and runs through Sept. 7, or at Cannes or Sundance.After Venice announced its latest lineup, many filmmakers were still polishing the sound mixing, color correction and visual effects of their movies. In late July, Dea Kulumbegashvili, the Georgian director of the competition title “April,” was still completing aspects of her film about an obstetrician who performs illegal abortions.A still from the film “April.” Memo FilmReached at Studio Babelsberg in Potsdam, Germany, she said she was waiting on around 10 shots with visual effects that needed to be finalized. She described the nature of the effects somewhat enigmatically as “a character” in the film that required a careful eye across many long-sequence shots.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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      Isabelle Huppert on the Importance of the Venice Film Festival

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      The veteran French actress of stage and screen is the jury president of this year’s Venice Film Festival.Actors often have more than one project on the boil. The French actress Isabelle Huppert takes multitasking to the next level.For the next 11 days (Wednesday through Sept. 7), Huppert is heading up the jury of the Venice Film Festival, watching nearly two dozen movies (together with the other jurors) and handing out awards, including the coveted Golden Lion.In the days and weeks leading up to the festival, Huppert has been working nonstop.Earlier this week, for two nights in a row, Huppert performed alone onstage at the Ruhrtriennale festival of the arts in Germany, delivering the 100-minute monologue “Bérénice” (an adaptation by Romeo Castellucci of the 17th-century French tragedy by Jean Racine).Days before that, she was on a film set in Belgium, playing a fictionalized version of Liliane Bettencourt — the billionaire heiress to the L’Oreal cosmetics fortune — in “La Femme la plus riche du monde” (“The World’s Richest Woman”).Huppert’s résumé is correspondingly impressive. She has more than 120 films to her name, as well as an Academy Award nomination (best actress in 2017 for “Elle”) and quite a few theater productions. She manages to toggle between film and stage acting, appearing regularly in cinemas and theaters around the world.Fresh off the set in Belgium, and busy relearning her lines for “Bérénice,” Huppert discussed film festivals, the future of cinema and the American stage director Robert Wilson in a recent phone interview. This interview was conducted in French and has been edited and condensed.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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      Zoë Kravitz’s ‘Blink Twice’ Is a Horror Mystery Inspired by Her Frustrations

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      In the summer of 2017, Zoë Kravitz, on a break from shooting a movie, posted up at a cafe in London with her laptop and began drafting her first full screenplay.It wasn’t immediately clear to her what it would become, she said: “At first I wrote this kind of stream-of-consciousness novella, where the characters came to life.”They eventually inhabited “Blink Twice,” her directorial debut, which revolves around a tech billionaire with a private party island and the guests — whether unsuspecting, or complicit — who are lured there. It’s a Bacchanalia with shades of “Lord of the Flies” and Adam and Eve. At once a psychosexual thriller, a horror-mystery, a revenge fantasy, a dark comedy and a commentary on gender and class, “Blink Twice” was not inspired by any one event, or by her professional trajectory, Kravitz said in a recent video interview.“It was more of an emotional thing that I was trying to work out — a combination of my own experiences and experiences of friends and family, other women that I’m close to, and not really having a place to put those frustrations and complicated feelings,” she said.She had always wanted to direct, she said, but had no plans for how that would come to pass. But as she wrote — she finished the screenplay with her friend E.T. Feigenbaum — she realized she couldn’t “trust somebody else with this vision that I was having.”The polished “Blink Twice,” due Friday, stars an ensemble led by Channing Tatum, now Kravitz’s fiancé, and Naomi Ackie (“Star Wars: Episode IX — The Rise of Skywalker”). The cast includes Adria Arjona (“Hit Man”), Haley Joel Osment and Geena Davis. They shot on location in the Yucatán, “about an hour away from any real town,” Kravitz said, giving them a heightened sense of camaraderie. “We ate all our meals together. We hung out on the weekends. It was like this magical, magical time.”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 ‘I Like It Here,’ Documentary Maker Ages Wistfully in the Hudson Valley

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      Looking back at the lives he and his friends led, the documentarian Ralph Arlyck delivers a memoir, an essay on mortality and a portrait of his community.“I got taxied into the world in the middle of the last century,” a man’s voice says at the start of “I Like It Here” (at the Firehouse theater in New York). We’re gliding slowly across a green rural landscape. “This is where I live now,” he continues. “I’m 78.”The voice is Ralph Arlyck’s, and the movie is his, too. Arlyck is a veteran documentarian, and “I Like It Here” is part memoir, part personal essay on aging and mortality, part portrait of his community and home in the Hudson Valley. There’s no plot, per se. But I’ve seen the movie twice, and both times I found myself moved near tears.“I Like It Here” feels like a cousin to Agnès Varda’s documentaries, particularly the curiosity and humor of “Daguerréotypes” (1975, Criterion Channel), in which she records the daily lives of her neighbors on the Rue Daguerre. Arlyck also introduces us to several of his friends, most of whom he’s known for decades. They’ve grown old alongside one another, sharing lives that intersect and diverge. Most have started to recognize they’re the age their parents and grandparents were when they thought of them as “old.” It’s a realization that’s equal parts unsettling and amusing.Arlyck’s recollections of his own family history, his marriage and his career as a filmmaker are part of the film. But they’re woven into the present narrative perfectly, without seeming at all self-indulgent. Instead, he’s doing precisely what great memoirists do: invite us into their stories as a way of making space for us to reflect on our own.“I Like It Here” is loaded with gentle humor as a counterbalance to the pathos inherent in any reflection on mortality by a man who knows most of his life is behind him. Near the beginning of the film, we see hands pull a box of 36 new pencils from a desk drawer. In voice-over, Arlyck notes that he doesn’t go through pencils very fast, and it occurs to him that this is probably the last box of pencils he’ll ever purchase. It’s almost a morbid thought, but it’s also kind of funny, and he treats it as such. Pencils: they mean nothing, and everything.The “here” of the title — Arlyck likes it here — opens up in complexity as the film progresses. It’s that green landscape from the beginning, where the neighbors and horses and Arlyck and his family live. But it’s also the planet, and an ineffable moment in time that he’s been lucky enough to inhabit. He and his friends talk about being aware that the end is coming, and have mostly gotten used to the idea. But late in the movie, he expresses a wistfulness that there’s nobody he can bargain with to stay longer than his time. “I’m having fun,” he says, while we see his grandchildren playing. “I’d actually rather not leave just yet.” More

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      ‘Incoming’ Review: Not Another Teen Movie

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      Freshman engage in some fairly predictable debauchery in this routine high school gross-out comedy streaming on Netflix.“Incoming,” a bawdy teen comedy from the directors Dave and John Chernin, opens with a familiar gag: an awkward adolescent boy (Mason Thames) delivers a speech to the camera professing his love, only for a cut to reveal that he’s actually rehearsing in the mirror. In a genre rank with cliché, this is not a very promising start — it suggests that the Chernins, who also penned the screenplay, are satisfied with whatever joke is closest to hand.The rest of the movie does little to dispel that impression. Its story of high school freshmen navigating a libertine house party follows exactly the trajectory you would expect, with few laughs and even fewer surprises. If there’s a cute girl incoming, she’ll be introduced in a slow motion montage. If a couple leans in for a kiss, they’ll be interrupted by a lewd gag. Will the dork score with the hottie? Will the rowdy teacher get out of hand? Cue the record scratch sound effect!A generous interpretation is that “Incoming” is derivative as an act of loving homage. In practice, it just feels old hat. The movie is heavily indebted to the teen gross-out comedies of the late 1990s and early 2000s, like “American Pie” and “Van Wilder,” which were themselves indebted to the teen sex comedies of the 1980s, like “Porky’s” and “Screwballs,” and it’s so far from an original idea or point of view that it’s hard to see the point.All it offers is ribald escalation: Instead of beer bongs, there are lines of ketamine; instead of fart jokes, there’s diarrhea in a Tesla. Maybe that’s progress. But I’d say the filmmakers flunked.IncomingRated R for strong language, drug use, sexual innuendo, mild violence and “Porky’s”-style shenanigans. Running time: 1 hour 31 minutes. Watch on Netflix. More

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      ‘The Killer’ Review: John Woo With a French Twist

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      Woo’s new version of his Hong Kong action movie “The Killer,” starring Nathalie Emmanuel and Omar Sy, may be a remake, but it’s not a retread.When he started a run of contemporary action movies in the early 1980s, the Hong Kong director John Woo forged a personal mode influenced by the stylized violence of American directors like Sam Peckinpah and Don Siegel (see the shootouts in “The Getaway” and “Dirty Harry”), and the mentholated cool of the French filmmaker Jean-Pierre Melville (à la the existential assassin of “Le Samouraï”). Before taking up in Hong Kong again in 2008, Woo created some galvanizing work in the United States: “Face/Off” (1997) and “Mission: Impossible 2” (2000).It is exhilarating, then, to see him set his sights on Paris with a remake of his 1989 Hong Kong classic, “The Killer.” He depicts the City of Lights with a loving, romantic eye.Woo’s original starred the incredibly charismatic Chow Yun-fat as the title assassin, a hired killer with an ethos who makes some sacrifices on behalf of a young woman he accidentally blinded during a shootout. (Woo has more than a touch of Chaplin’s “City Lights” in him, too.) One challenge for a remake would be finding a younger lead actor to match Chow’s magnetism. There is none, and Woo knows it as well as we do; hence, the film’s rather delightful surprise of gender-switching the title character.The British actress Nathalie Emmanuel plays the soulful marauder Zee, and man, does she cause a ruckus. The film’s first big blowout, in a cabaret-bar, features quarts of spilled blood, a skyscraper’s worth of shattered glass and mirrors, slow-motion flying bullets and, yes, a mishap in which a cabaret singer named Jenn (Diana Silvers) is blinded. Zee is a little more coldblooded than Jeffrey was in 1989; at first she tries to get rid of the singer rather than help her.Zee’s contractor, Finn, played by Sam Worthington, isn’t pleased that the singer was allowed to live. Zee is confused — she always asks before taking a job whether her future victims deserve to die. Finn tells her that this one had it coming. But Zee insists on keeping Jenn alive, despite the shadowy forces trying to wipe her out.Omar Sy plays Sey, a French cop who will, of course, form an uneasy alliance with Zee. (Woo’s world is like the one Mick Jagger’s devil envisions: Every cop is a criminal and all the sinners saints. Sort of.) Sy projects assuredness and vulnerability in almost equal measure.Emmanuel, best known as Missandei, the trusted adviser to Daenerys in “Game of Thrones,” conveys a smooth, chameleonic expertise. As in the first film, the killer spends a lot of time in a moody, deconsecrated church, which is, of course, kitted out with a complement of doves — Woo’s favorite symbolic animals. The direction is energetic, incorporating frantic flashbacks and resourceful split-screen perspectives, and the plot adds several new twists not found in the first movie. Rest assured, this may be a remake, but it’s not a retread.The KillerRated R for — guess — violence. Running time: 2 hours 6 minutes. Watch on Peacock. More