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      ‘Unlocked’ Review: A Surveillance Thriller Best Left Offline

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      A woman experiences paranoia, loss and bodily danger after a serial killer hacks her phone.In the sleepy cyberthriller “Unlocked,” Na-mi (Chun Woo-hee) forgets her phone on the bus after a night of revelry. It’s discovered by Jun-yeong (Yim Si-wan), who returns it to her — and who turns out to be a methodical serial killer. He’s bent on using the personal device to isolate Na-mi: first by kidnapping her doting father, then by destroying her promising marketing job, and finally by breaking the bond she shares with her best friend.It’s not a particularly difficult task: He runs a phone repair shop, where he has hacked the device to observe texts and notifications, overhear calls and even access the camera. When Na-mi uses the phone’s selfie mode, it acts, in a sense, as a point-of-view shot. The director Kim Tae-joon and the cinematographer Yong-seong Kim smartly subvert the empathy such a composition provokes by leaning into the dread of unknowingly being watched.The film, unfortunately, struggles to build on that aesthetic choice. Na-mi’s sole personality trait is her tendency to trust too much — a characterization that could work for a short-lived victim but that evaporates in a protagonist. Jun-yeong’s father (Kim Hee-won), a detective ridden with guilt over his seven-year estrangement from his son, is weakly drawn, too. The detective desperately wants to catch Jun-yeong before he kills again, but a last-second twist undermines the arc’s pathos.“Unlocked” moves at a glacial pace. Jun-yeong is too apathetic, too quiet to keep a viewer enthralled for the entire film. In a cinematic landscape where the anxiety of surveillance has been sufficiently explored — with movies like “The Conversation,” “Enemy of the State” and “Kimi” — this simplistically dreary offering doesn’t crack a new code.UnlockedNot rated. In Korean, with subtitles. Running time: 1 hour 57 minutes. Watch on Netflix. More

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      ‘Sharper’ Review: The Big Con

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      The film stars Sebastian Stan and Julianne Moore in a baroque but lackluster story of con artists circling a Manhattan billionaire’s fortune.Perhaps phishing emails have taken the romance out of con artistry, but “Sharper” feels downright quaint in its Russian-doll plotting of elaborate scams. That’s no crime in itself, but the movie also confirms that stories about con artists might require more panache, or at least a sense of danger.The movie opens with a rom-com coziness, as Sandra (Briana Middleton) meets Tom (Justice Smith) in his tastefully appointed Greenwich Village bookshop. Their goo-goo-eyed dating ends badly, with the extraction of a large sum of cash. Each chapter of the film then pulls back the curtain on one of the characters. We learn that Sandra previously crossed paths with Max (Sebastian Stan), a smooth operator who is close to the Fifth Avenue habitué Madeline (Julianne Moore).Madeline in turn is dating a billionaire (John Lithgow), who’s about as safe in this setup as a chicken in a shark tank. The false fronts of the plotting are the film’s only reliable kick, and so they’re best left unexposed here, but the general modus operandi hinges on triggering protective impulses and panic responses.Yet this tony-looking film, directed by Benjamin Caron (“The Crown”), feels less poker-faced than prim about its characters and their behavior. The story misses the clinical bravado of David Mamet’s heists, the psychosexual menace of “The Grifters,” or — despite opening with a dictionary definition — the crooked community described in the David Maurer classic “The Big Con.”The film’s biggest trick might be casting Moore, Stan and the positively glowing Middleton and still never quite catching fire.SharperRated R for language throughout and some sexual references. Running time: 1 hour 56 minutes. Watch on Apple TV+. More

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      ‘Pacifiction’ Review: Trouble in Paradise

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      Albert Serra’s languorous new film is a dreamy meditation on post-colonial geopolitics.At sunset and at daybreak, the light in Tahiti glows orange and pink, as fragrant and moist as freshly cut fruit. “Pacifiction,” the sixth feature by the Catalan filmmaker Albert Serra, luxuriates in the Polynesian twilight, as if the camera’s lens could absorb humidity and make it visible.The movie unfolds over more than two and a half hours at a languorous pace, through episodes that sometimes seem linked by the serendipitous logic of a dream. At the beginning and the end, a small power boat plies the harbor, carrying French marines under the command of a sad-eyed admiral (Marc Susini). Their presence, in the bars and on the beaches, becomes part of the local atmosphere as well as the catalyst for a plot that connects local politics with geopolitical intrigue.It’s rumored that France is about to resume nuclear testing around the islands, something that was done frequently from the 1960s to the mid-90s. In the movie’s fictional present day, tensions are rising between Polynesian authorities and the French government, which administers the region as an overseas territory. Mysterious foreigners haunt the tourist hotels. At least one is believed to work for the C.I.A.At the center of it all is the French high commissioner, a government functionary in tinted glasses and an ice cream suit referred to only by his last name, which is De Roller. Played by Benoît Magimel with shambling delicacy, De Roller is like the French cousin of a character you might find in a Graham Greene novel or a tale by Joseph Conrad. He is a world-weary, somewhat dissolute avatar of colonial power — “a representative of the state” in his own assessment, which sounds both humble and boastful — going to seed in a tropical paradise. He is a diplomat, a fixer, a bon vivant and, thanks to Magimel’s louche charisma, a lost soul whose wandering and dithering carry a hint of pathos.Though De Roller is in constant motion — by foot, jet ski and prop plane as well as his cream-colored Mercedes — he is a curiously becalmed, passive figure. He listens, lectures, eats and drinks, enjoying the company even of people whom he regards as threats or annoyances. He hangs out backstage with nightclub dancers, lunches with Indigenous leaders and visiting cultural dignitaries and develops a special, possibly romantic relationship with Shannah (Pahoa Mahagafanau), a transgender hospitality worker.“Pacifiction,” which was filmed in Polynesia in 2021 under the shadow of Covid, is more interested in texture than plot. There is a thriller lurking around the edges of the movie, or perhaps in its subconscious, as if the conspiracies and acts of violence that are sometimes alluded to in De Roller’s conversations were buried in the subtext, just out of view. It suggests John le Carré by way of David Lynch — a feverish and haunting but also wry and meditative rumination on power, secrecy and the color of clouds over water at sunset.PacifictionNot rated. In French, with subtitles. Running time: 2 hours 45 minutes. In theaters. More

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      ‘Devil’s Peak’ Review: The Curse of a Family Name

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      In this thin drama, Billy Bob Thornton plays a menacing drug kingpin whose son begins to question their way of life.A montage early in “Devil’s Peak” — bags of meth trading hands, the patched-up houses of its users — gives a rundown of the milieu we’re about to enter and introduces Charlie (Billy Bob Thornton), the Appalachian drug kingpin at its center. The grainy, faux-home movie footage is about as close as we’ll get to truly feeling present in the gritty crime world that the film attempts to evoke. “In Jackson County, North Carolina, my family name meant something,” Jacob (Hopper Penn), Charlie’s son, explains.Different iterations of this opening line come up again, over and over, each time emphasizing the McNeely name and the outlaw blood that flows through any cursed person who bears it. Yet the rest of the film, directed by Ben Young and adapted from a novel by David Joy, struggles to meaningfully flesh out what the McNeely life is actually like.The movie doesn’t have enough of a narrative engine to compensate for its lack of world building. After Jacob becomes involved with Maggie (Katelyn Nacon), the stepdaughter of a greasy politician who eventually targets Charlie’s dealings, he begins to question his obligation to his father’s way of life. Yet their relationship (and many others) is too thinly developed to provide emotional stakes.Instead, the film mostly relies on Thornton’s overdone malice — his character, in his punked-up, Southern Walter White look, often borders on the cartoonish. On the other hand, Penn, the son of Robin Wright, a co-star and producer of the movie, is left to offer up little more than the sad stare of a conflicted son. Wright is the film’s easy standout: Her story as the addicted mother is one whose details we never really know but can intuit through somber, silent moments in her darkened home.Devil’s PeakNot rated. Running time: 1 hour 37 minutes. In theaters. More

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      ‘Hidden Blade’ Review: Smoke Gets in Your Eyes

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      Tony Leung stars as a spy chief during a shadowy period in midcentury China, when nationalists, communists and imperialists vied for power and souls.History’s shadow is long; so is the shadow of Tony Leung’s cigarette, which few other images in modern Chinese (Hong Kong) cinema can rival for iconographic force. To picture him smoking is to conjure an entire world of feeling — the aesthetic ecstasy of Wong Kar-wai distilled into a single vision. Perhaps only Bruce Lee’s fist or the Cheongsam sway of another Wong favorite, Maggie Cheung, compare.Like many a neo-noirist, Cheng Er thrives in these shadows. They define his latest film, “Hidden Blade,” a puzzle-box action-thriller set amid the Second Sino-Japanese War (1937-45), during which communists, Chinese nationalists, Japanese imperialists and collaborators vied for power and souls: shadow warfare; shadow governments; and yes, a lot of deep-shadow photography of Leung, who plays a spy chief, looking amazing while smoking. (Then there is the shadow of Chinese communism, which raises tricky questions about the film’s politics.)Impeccably coifed and suited, with his sad smile and careful manners, the simmering, mesmerizing Wang Yibo, who plays a young spy-assassin protégée (of whom, exactly, is a central question), is like a mirror to Leung from decades ago. That sense of homage appears deliberate; it serves the story in ways that aren’t merely meta-textual, and Cheng clearly honors the immense talent and cinematic history at his disposal.But however crisp and stylishly executed, the parts don’t quite add up to a satisfying whole. The women characters (led by Zhou Xun) are thinly drawn, and Cheng’s love for puzzle-plotting leads too often to confusion, with too little payoff for all that time wandering the darkness. Still, I could have watched the actors smoke (and cry, and bleed) in midcentury Shanghai’s sumptuous back rooms all day.Hidden BladeNot rated. In Mandarin, with subtitles. Running time: 2 hours 8 minutes. In theaters. More

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      Raquel Welch, Actress and ’60s Sex Symbol, Is Dead at 82

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      Beginning with a doeskin bikini in “One Million Years B.C.,” she built a celebrated show business career around sex appeal and, sometimes, a comic touch.Raquel Welch, the voluptuous movie actress who became the 1960s’ first major American sex symbol and maintained that image for a half-century in show business, died on Wednesday at her home in Los Angeles. She was 82.Her death was confirmed by her son, Damon Welch. No cause was given.Ms. Welch’s Hollywood success began as much with a poster as with the film it publicized. Starring in “One Million Years B.C.” (1966) as a Pleistocene-era cave woman, she posed in a rocky prehistoric landscape, wearing a tattered doeskin bikini, and grabbed the spotlight by the throat with her defiant, alert-to-everything, take-no-prisoners stance and her dancer’s body. She was 26. It had been four years since Marilyn Monroe’s death, and the industry needed a goddess.Camille Paglia, the feminist critic, described the poster photograph as “the indelible image of a woman as queen of nature.” Ms. Welch, she went on, was “a lioness — fierce, passionate and dangerously physical.”Ms. Welch played a Pleistocene-era cave woman in the 1966 movie that skyrocketed her to fame.Universal History Archive/UIG, via Getty ImagesHer Hollywood success began as much with this poster as with the film it publicized.Bettmann, via Getty ImagesWhen Playboy in 1998 named the 100 sexiest female stars of the 20th century, Ms. Welch came in third — right after Marilyn Monroe and Jayne Mansfield. Brigitte Bardot was fourth.The critics were often unkind. Throughout her career, Ms. Welch was publicly admired more for her anatomy than for her dramatic abilities. She even called her 2010 book, a memoir and self-help guide, “Beyond the Cleavage.”But when she had a chance to show off her comic abilities, they were kinder. Ms. Welch won a Golden Globe for her role in Richard Lester’s 1973 adaptation of “The Three Musketeers”; her character was a hopelessly klutzy 17th-century Frenchwoman, torn between two lives — as a landlord’s wife and the queen’s seamstress.Despite a career based largely on sex appeal, Ms. Welch repeatedly refused to appear nude onscreen. “Personally, I always hated feeling so exposed and vulnerable” in love scenes, she wrote in her memoir, noting that even when she appeared in a prestigious Merchant Ivory film (“The Wild Party,” 1975), the filmmakers, those acclaimed arbiters of art-house taste, pressured her to do a nude bedroom scene, to no avail.Ms. Welch won a Golden Globe for her role in Richard Lester’s 1973 adaptation of “The Three Musketeers.”Sunset Boulevard/Corbis, via Getty Images“I’ve definitely used my body and sex appeal to advantage in my work, but always within limits,” she said. But, she added, “I reserve some things for my private life, and they are not for sale.”Jo-Raquel Tejada was born in Chicago on Sept. 5, 1940, the oldest of three children of Armando Carlos Tejada, a Bolivian-born aeronautical engineer, and Josephine Sarah (Hall) Tejada, an American of English descent. They had met as students at the University of Illinois.When Raquel was 2, the family moved to Southern California for her father’s work in the war effort. At 7, encouraged by her mother, she enrolled at San Diego Junior Theater, where her only early disappointment was being cast in her first play as a boy. She began ballet classes the same year and continued to study dance for a decade.After graduating from La Jolla High School in San Diego, where her nickname was Rocky, she received a scholarship — thanks to success in local beauty pageants — to study theater at San Diego State College. But she dropped out at 19 to marry her high school boyfriend, James Wesley Welch. Because of her local celebrity, she landed a job as the “weather girl” on KFMB, a San Diego television station.Ms. Welch and Stephen Boyd in “Fantastic Voyage” (1966).20th Century Fox/Everett CollectionThe birth of her two children complicated her career plans, but she soon left her husband — “the most painful decision of my entire life,” she called it — and moved to Los Angeles to pursue acting. (They divorced in 1964.)She had hoped to move to New York instead, she recalled. But the trip would have been prohibitively expensive, and, anyway, she didn’t own a winter coat.It was not long before she had a contract with a major studio, 20th Century Fox. She had early hopes of making her big-screen debut in a James Bond movie; the producer Albert R. Broccoli wanted her for “Thunderball.” But that dream was quashed when she was cast in “Fantastic Voyage” (1966), a science fiction film about scientists reduced to microscopic size to travel inside a diseased human body. Then came “One Million Years B.C.,” and that did it.“There’s a certain thing about that white-hot moment of first fame that is just pure pain,” Ms. Welch said in an interview with Cigar Aficionado magazine in 2001. “It’s just not comfortable. I felt like I was supposed to be perfect. And because everybody was looking at me so hard, I felt there was so much to prove.”She appeared in some two dozen films over the next decade, perhaps most notably “Myra Breckinridge” (1970), based on Gore Vidal’s campy novel, in which she played a glamorous transgender woman, and “The Last of Sheila” (1973), a semi-campy murder mystery with a luxury-yacht setting and a script by Stephen Sondheim.Ms. Welch as a transgender woman in a scene from the 1973 movie “Myra Breckinridge.” At right is the film critic and sometime actor Rex Reed. Some of her most memorable roles were small ones. In “Bedazzled” (1967), Stanley Donen’s Faustian fantasy with Peter Cook and Dudley Moore, she played Lust, one of the Seven Deadly Sins; in “The Magic Christian” (1969), with Peter Sellers and Ringo Starr, her character’s name was Mistress of the Whip.Ms. Welch had love scenes with the former football star Jim Brown in “100 Rifles” (1969), a western set in Mexico. She followed “The Three Musketeers” with its 1974 sequel, but those films never led to the sophisticated comedy opportunities she had hoped for. (She did, however, have a memorable chance to display her comedic side years later, when she played herself in a 1997 episode of “Seinfeld.”)After “Mother, Jugs and Speed” (1976), a farce about ambulance drivers (which also starred Bill Cosby and Harvey Keitel), her screen acting was limited mostly to television guest appearances.But she had already discovered the joys of stage work. Inspired after seeing Frank Sinatra’s nightclub act, Ms. Welch made her club debut, singing and dancing, at the Las Vegas Hilton in 1973. Eight years later she made her Broadway debut, hired as a two-week vacation replacement for Lauren Bacall in the hit musical “Woman of the Year.” Her reviews were so admiring (Mel Gussow’s in The New York Times ended by writing, “One hopes that Miss Welch will soon find a musical of her own”) that she returned the next year for a six-month stint in the role.“The first minute I stepped out on that stage and the people began applauding,” she told The Times later, “I just knew I’d beaten every bad rap that people had hung on me.” She returned to Broadway in 1997, replacing Julie Andrews for seven weeks in “Victor/Victoria.”Ms. Welch was a presenter at the 2010 Tony Awards ceremony at Radio City Music Hall in New York. She appeared on Broadway twice, in “Woman of the Year” and “Victor/Victoria.”Sara Krulwich/The New York TimesIn 1987, Ms Welch published “The Raquel Welch Total Beauty and Fitness Program,” which included exercises based on the principles of hatha yoga. She released a companion video with the same title.Few thought of Ms. Welch as a Latina actress, but she embraced that identity late in her career, starring as a melodramatic Mexican American aunt on “American Family,” a PBS series (2002). She learned to speak Spanish in her 60s; her father had not allowed the language to be spoken at home when she was growing up.Her last film was “How to Be a Latin Lover” (2017), a comic drama about an aging gigolo, played by Eugenio Derbez. She played his new target — a disarming, too-glamorous-to-be-true grandmother. Her final television appearances were on “Date My Dad” (2017), a Canadian American series, in a recurring role as the leading man’s Mexican mother-in-law.Ms. Welch was married and divorced four times. After Mr. Welch, her husbands were Patrick Curtis (1969-72), a producer; André Weinfeld (1980-90), a French director and producer; and Richard Palmer (1999-2008), a restaurateur.In addition to her son, Ms. Welch is survived by her daughter, Tahnee Welch, and a brother, Jimmy Tejada.In her late 70s, Ms. Welch was still followed by photographers, and reporters were still commenting on her appearance. In 2001, she answered questions about fashion and style in an interview with The Los Angeles Times.“Style has to have substance,” she said. “It has to have fire.” Praising synergy, instinct, imagination and attitude over trendiness and fashion-magazine dictates, she concluded, “It’s about being yourself on purpose.”Michael Levenson More

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      Hari Nef and Parker Posey: Two ‘It’ Girls Whose ‘Humanity Peeks Through’

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      In a pairing that seems almost predestined, the actresses are sharing a stage in “The Seagull/Woodstock, NY,” a contemporary riff on Chekhov.In a show-business world full of square pegs and round holes, Parker Posey and Hari Nef are 12-sided dice.Posey, 54, has forged an unclassifiable career since her days as the “it” girl of 1990s independent cinema — mirrored in her oddball 2018 book, “You’re on an Airplane: A Self-Mythologizing Memoir.” She has created a series of indelible characters in Christopher Guest comedies, including “Best in Show,” but has also memorably brought her off-kilter rhythms to high-profile gigs like the flamboyant assistant district attorney Freda Black in the HBO Max mini-series “The Staircase” and the scheming Dr. Smith on the Netflix reboot of “Lost in Space.”As for Nef, 30, she landed the recurring role of Gittel in the Amazon series “Transparent” days after graduating from Columbia University, in 2015. The first openly transgender woman to receive a worldwide modeling contract, Nef also writes for various magazines, appeared in the Off Broadway play “Des Moines” in December, and has a couple of big projects arriving later this year: Greta Gerwig’s “Barbie” movie and the HBO series “The Idol” in which she’ll appear alongside the Weeknd and Lily-Rose Depp.From left, Daniel Oreskes, Posey, Amy Stiller and Nef in the New Group’s production of “The Seagull/Woodstock, NY,” which follows a group of theater friends who retreat to a house in the Catskills.Sara Krulwich/The New York TimesIn a meeting that seems almost predestined, the pair are now sharing a stage in Thomas Bradshaw’s “The Seagull/Woodstock, NY,” a New Group production in previews at the Pershing Square Signature Center. (It is scheduled to open Feb. 28 and run through March 26.) A contemporary riff on Chekhov set in the Catskills, the play renames the charismatic, brittle actress Irina Arkadina as Irene (Posey), while the moody, romantic Masha has become Sasha (Nef).“They’re iconic in who they are and what they bring to their work,” the play’s director, Scott Elliott, said of Nef and Posey during a phone call. “They’re able to bring themselves to the parts so there’s very little separation between the actor and the role. Their humanity peeks through.”This quality helps explain why both New York-based actresses have a similar ability to connect with a character’s pathos, while also deploying unerring comic timing: Posey’s turns in those Guest films are pitch-perfect, while Nef was praised by Ben Brantley, in his review of Jeremy O. Harris’s play “‘Daddy,’” for delivering “the production’s sharpest satirical performance.”On Being Transgender in AmericaG.O.P.’s Anti-Transgender Push: Republican state lawmakers are pushing more sweeping anti-transgender bills than ever before, including bans on transition care for young adults up to 26.At School: Educators are facing new tensions over whether they should tell parents when students change their name, pronouns or gender expression at school.Feeling Unsafe: Intimidation and violence against gay and transgender Americans has spread this year — driven heavily, extremism experts say, by increasingly inflammatory political messaging.Puberty Blockers: These drugs can ease anguish among young transgender people and buy time to weigh options. But concerns are growing about their long-term effects.Naturally, there are generational differences. In a chat following a rehearsal, in January, Nef mused about taking Posey to a rave while Posey reminisced about visiting classic ballroom dance halls in Berlin. And yet they connect. These are edited excerpts from the conversation.“I want to be known for what I do as an actor,” said Nef, who also appeared this winter in the Off Broadway play “Des Moines.” Josefina Santos for The New York TimesWhat did you know of each other before “The Seagull/Woodstock, NY”?PARKER POSEY Hari Nef — oh, she was in “Transparent.” I remembered exactly what a performance that was and how much she lit up a scene. She changed the temperature of the room. I don’t keep up with a lot of things. I don’t have a lot of social media — I forgot my Instagram password a while ago and I tried to sign on a few times with the password I thought I remembered. But of course it was the wrong password.HARI NEF I knew so much about your work. “Party Girl” is a favorite, but I’d also seen you on “Search Party,” the whole gamut. A friend of mine said that you in “The House of Yes” is probably one of the greatest screen performances he’s ever seen. And he doesn’t play.POSEY When we met for the first read-through, Thomas said, “I’ve just got to tell you, ‘The House of Yes’ was a big inspiration for me and my writing.” That [script] was Wendy MacLeod’s Yale thesis. I didn’t know that playwriting can be so subversive.NEF I was always so attracted to you and your work because you were glamorous and you were dramatic and you were cool and you were distinctive and uncompromising, but not in a way that was obvious or traditional. You are beautiful and talented, that is obvious and traditional, but you always did things your way. I knew that if I was going to make a career as an actor, much less as an actress, I would have to do things non-traditionally. I didn’t have anyone quite exactly like me to look to so I looked at your work and I looked at Tilda [Swinton] and Chloë [Sevigny].POSEY I got lucky because at a time in the culture, you could do Off Broadway and afford your $700 a month apartment. And you could do independent movies: “It’s only 22 days, yeah, I’ll do that one.” It was kind of punk rock or like being in a band. Everyone was hanging out together and it was very organic. It was a little pocket of time that didn’t last that long.NEF I’ve been able to spend my entire fall and winter doing Off Broadway shows because I did Fashion Week before this and that visibility brings other opportunities. You can get paid three, four, five times what I’m going to make for both these plays combined by going to one dinner and being photographed there in an outfit. I post images of the films I like on Instagram not just because I find them inspiring and beautiful — I do — but it’s me going, “I want to be in movies like this.”POSEY You’re having the best of both worlds because to be online and have a social media presence is kind of to be your own magazine. I need to learn. But that time is a different time; it is your generation’s time right now.NEF You’re literally from the last moment where it was possible to be cool. Looking at that capital-C definition of cool all the way back to Andy Warhol and the Velvet Underground, there’s talent, there’s glamour, there’s drive, there’s darkness. But there’s also a mystery and a specificity, and you lose that mystery and specificity by existing online. Because of the money thing and the rent thing, it has become essentially untenable to be cool, to be mysterious, to have that allure being an indie legend.Do you think it’s one thing to be perceived as cool and another to be taken seriously as an actor?NEF So much of my entry into this industry and this practice was around “Transparent.” I was riding on this flotilla of discourse about things that had nothing to do with what I could do as an actor. I thought I had to sing for my supper just for a seat at the table. Maybe I was right, to a certain extent, but it became like, “Do I really want people to know me by what I say or what I am or what my private medical history is?” No, I want to be known for what I do as an actor.POSEY Cool is when there’s something original or unexpected, or seems to have some kind of luck around it. Which your appearing on that show was: the unexpected, something new, something fresh. And that is not orchestrated — that’s luck. I see that now. I look at life and the path of an actor as having that luck. And I think that’s very enviable.NEF I’ve been very lucky. I remain lucky. The play I did before “Daddy” was my senior thesis in college: I played Arkadina in “The Seagull.” I had gone through what I had gone through in college and I never thought that I would get to go onstage to do Chekhov, much less play her. I knew that I probably wouldn’t be able to play a role like that again for many, many years — not because of age but because of the size and the heft of the role. I haven’t played a role like Arkadina since then, but I’m back doing “The Seagull” and that is more than was promised to me at that moment in history.“It’s interesting to observe how quick people are to villainize strong women,” Posey said of her character, Irene, a showbiz mom in “The Seagull/Woodstock, NY.” “The misogyny is on fire, still.”Josefina Santos for The New York TimesParker, what drew you to Arkadina/Irene?POSEY What attracted me the most to this part was the narcissistic mother, and the power that a mother has over her son. And she’s a showbiz mom, someone with a lot of heart and theatricality and all that. I’m so lucky as a middle-aged woman to be playing this part. It’s interesting to observe how quick people are to villainize strong women, how fun it is to see the worst. People love to call someone a bitch. I mean, the misogyny is on fire, still.NEF I play a lot of bitches.Why do you think that is?NEF Well, I’m no ingénue. I write, and a lot of the bitches I’ve played are also writers, thinkers. Smart. “Bitch” is often a fill-in for intelligent, for articulate, for opinionated, queer, not conventionally feminine or not conventionally beautiful. I think the “Barbie” stuff happened because I didn’t play bitchy and I didn’t play dumb and I didn’t play plastic in the audition.POSEY Having been cast as a female Dr. Smith, that was such a coup, I was so grateful for that gig. If you can live in Hollywood, it’s a lot easier to get cast and be a part of that world. But I wanted to walk around and see other people.NEF What is your relationship to the word “scene-stealer”? It’s the word that really follows me. It’s not a bad thing: It means I’m doing good work in small roles.POSEY That is a character actor making strong choices. When you have a small role in something big, you have to fill it in a certain way, and that’s its own thing.NEF If you’re a bold flavor — which I know I am — it’s more intuitive for people to see you as seasoning to the steak. I’d like to be the steak someday, but I know I have to earn it. So many of your iconic roles have been supporting and I’m wondering if you ever felt minimized by it.POSEY [long pause] Your 20s are really intense and then the culture changes and you’re, like, “Where am I going to fit in? I’m going to be in ‘Blade: Trinity’ playing a vampire? Never thought I’d see the day but yeah, I want to work and that’ll be interesting.” And then it’s the 40s. It’s heartbreaking when you become aware of just how intensely male-dominated our stories are, especially when you mature as a person and as a woman.NEF The shifts in the culture are by and large cosmetic when it comes to power and who gets the green light and who gets the sign-off for studio things. I can’t control the way I’m cast or how people see me.POSEY But you can see and acknowledge where you are. You’re in the mix. We’re so lucky to do what we love to do. A lot of people don’t.NEF That’s the bottom line of gratitude right now. This sounds corny but every day I’m so grateful to be here with you, to be here with everyone, to work through this winter onstage. It’s not guaranteed for anyone, much less someone like me or you. More

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      Hugh Hudson, Director of ‘Chariots of Fire,’ Dies at 86

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      His first film — about two runners, one Christian, one Jewish, who compete at the 1924 Summer Olympics — won four Oscars, including for best picture.Hugh Hudson, a director whose first feature film, “Chariots of Fire,” won four Oscars in 1982, including for best picture, died on Friday in London. He was 86.His family announced the death to the British news media but did not cite a cause.“Chariots of Fire,” based on the true story of two British sprinters who competed at the 1924 Summer Olympics in Paris, was nominated for seven Oscars and won four, including for the composer Vangelis’s musical score and for the screenplay by Colin Welland, as well as for costume design. Mr. Hudson was nominated for best director but lost to Warren Beatty, the director of “Reds.”“Hugh Hudson was the fulcrum around which ‘Chariots of Fire’ was built,” David Puttnam, the film’s producer, wrote on Twitter after Mr. Hudson’s death.Mr. Hudson had an affinity for the leading characters of his film: Eric Liddell, a devout Christian who resisted pressure to run in the 100-meter race at the Olympics because the heats took place on Sunday, the Sabbath; and Harold Abrahams, the son of a Lithuanian Jew who vowed to use running to fight antisemitism. Each man won a gold medal — Mr. Liddell for the 400-meter race, which was held on a weekday, and Mr. Abrahams for the 100-meter sprint.“I think David Puttnam chose me because he sensed that I’d relate to the themes of class and racial prejudice,” Mr. Hudson told The Guardian in 2012. “I’d been sent to Eton” — the prestigious all-boys boarding school — “because my family had gone there for generations, but I hated all the prejudice.”To play Liddell and Abrahams, Mr. Puttnam refused to cast stars; instead, he chose Ian Charleson and Ben Cross, who were both best known for their television work.“If I put stars in it, the film would never have been successful,” he told the newspaper The Jewish Chronicle in 2011. “With unknown actors, you look at them afresh.”The most famous sequence in “Chariots of Fire,” which depicts about two dozen young men running on a beach in slow motion, is seen during the opening credits.20th Century Fox, via Everett CollectionThe most famous sequence of the movie is seen during the opening credits: about two dozen young men, clad in white shirts and shorts, running on a beach in slow motion, their faces creased with pain and exhilaration.During the shoot, on the West Sands Beach in St. Andrews, Scotland, Mr. Hudson blasted Vangelis’s “L’Enfant” over loudspeakers. He wanted it to be the film’s theme, but Vangelis promised to compose something original, according to the online publication Art of the Title.The result was an instrumental blend of acoustic piano and synthesizer that provided a lush, pulsating accompaniment to the dramatic scene of young men in training. The song spent 28 weeks on the Billboard Hot 100 singles chart, peaking at No. 1.Hugh Donaldson-Hudson was born on Aug. 25, 1936, in London to Michael Donaldson-Hudson, an insurance broker, and Jacynth (Ellerton) Donaldson-Hudson. His parents divorced when he was young. He attended a boarding school before entering Eton, where he dropped “Donaldson” from his surname.He served in the British Army’s Royal Dragoon Guards and worked in advertising in the late 1950s before he started making documentaries and television commercials, some for Ridley Scott Associates. Alan Parker, who also worked for Mr. Scott, hired Mr. Hudson as a second-unit director on “Midnight Express,” his 1978 film about an American student imprisoned for trying to smuggle hashish out of Turkey. Mr. Puttnam was one of that film’s producers.Mr. Hudson’s best-known commercials included one in which Joan Collins splatters herself with a glass of Cinzano white wine, to the delight of another actor, Leonard Rossiter, seated beside her on an airplane; another showed robots building Fiat Stradas in a factory in Turin, Italy, to the music of Figaro’s entrance aria from “The Barber of Seville.”Mr. Hudson followed “Chariots of Fire,” with “Greystoke: The Legend of Tarzan, Lord of the Apes” (1984), which received three Oscar nominations, including one for Ralph Richardson for best supporting actor. Writing in The New York Times, Vincent Canby called it an “unusually intelligent and serious entertainment for the mass market.”But his next film, “Revolution” (1985), starring Al Pacino as a fur trapper caught up in the American Revolution, was considered a flop.His other films, none of which did well at the box office, included “My Life So Far” (1999), about a family’s life on an estate in Scotland after World War I; “I Dreamed of Africa” (2000), the story of a divorced Italian socialite who moves to Kenya; and “Finding Altamira” (2016), about the discovery of Paleolithic cave paintings in northern Spain in 1879.In 2011, Mr. Hudson made a documentary for BBC Four, “Rupture: A Matter of Life or Death,” about his wife, the actress Maryam d’Abo, who had recovered from a near-fatal brain aneurysm.Ms. d’Abo survives him, as does a son, Thomas, from his marriage to Susan Michie, which ended in divorce.In 2012, “Chariots of Fire” was adapted by the writer Mike Bartlett as a stage play in London, first at the Hampstead Theater and then at the Gielgud Theater on the West End.The stage version was Mr. Hudson’s idea, to coincide with London’s hosting of the Summer Olympics that year. “Issues of faith, of refusal to compromise, standing up for one’s beliefs, achieving something for the sake of it, with passion, and not just for fame or financial gain,” he told The London Evening Standard at the time, “are even more vital today.” More