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      ‘Beautiful Beings’ Review: Boys Will Be Boys Will Be Violent Jerks

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      In this brutal Icelandic drama, four teenagers — both bullies and the bullied — struggle and rage against a world that rages back.The bullied and their bullies circle one another restlessly in the brutal coming-of-age tale “Beautiful Beings,” at times coming to catastrophic blows. Set in a shabby corner of Reykjavik, Iceland, far from the usual tourist attractions, the movie focuses on four teenage boys struggling in that sticky, confusing, inescapably unsettling space between childhood and adulthood. At once old enough to know better and too young to be fully in control of much of anything (themselves included), the boys lash out at a world that is all too happy to lash back.The story takes place in what seems like the not-too-distant past and centers on two boys who meet after one, Balli (Askell Einar Palmason), a destitute outcast — a classmate complains that he smells — is viciously beaten by school thugs. The assault lands him in the hospital and on the local TV news, which drones on about problematic Icelandic youth. When Addi (Birgir Dagur Bjarkason), a sweet-faced member of another group of hotheads, watches the broadcast, he voices contempt for Balli. Yet Addi soon shifts course, bringing the needy, understandably wary outsider into his tiny, cloistered circle.What follows is a great deal of adolescent posturing, complete with jutting chins, clenched fists and ostentatiously smoked cigarettes. Along with two other kids — the volatile Konni (Viktor Benony Benediktsson) and the unkind jokester Siggi (Snorri Rafn Frimannsson) — Addi and Balli hang out, run amok, hook up with girls and stare into the distance. Every so often, and usually spurred on by Konni, they mix it up with other guys with exuberant ferocity. Konni is the brawniest, most explosive member of this gang, but it’s Addi who’s the scariest kid because he expresses some regret on his way to the next pummeling.It’s a sad, familiar story of boys being socially constructed, hyper-masculinized, aggressively nasty little jerks, one largely distinguished by the palpable tenderness that the writer-director Gudmundur Arnar Gudmundsson brings to its telling. Gudmundsson’s feature debut, “Heartstone,” also focused on adolescent boys. Here, with a combination of drifty realism and jolts of the fantastic — Addi has strange dreams and visions, which add unfruitful mystery to the narrative — he persuasively conveys the feverish intimacy of adolescent friendship, with its vulnerabilities and inchoate desires. Konni and Addi’s friendship is especially intense, alternately characterized by teasing, cruelty and moments of erotically charged sensitivity.In time, all these feelings, all this fury and confusion, reach a fever pitch, leading to some unsurprising disastrous violence. It doesn’t add up to much, despite the appealing young cast and the handsome cinematography that brings texture and visual interest to every grubby corner. Gudmundsson obviously loves his characters and wants you to be enamored with them as well, but he doesn’t have much to say about them or their reality. He nods at the larger world, suggests that desire fuels some of the boys’ interactions and floats some dubious deterministic ideas about what makes these kids tick, expressed mostly through bad parenting. He intimates and insinuates, gesturing at deeper meaning that never materializes.Beautiful BeingsNot rated. In Icelandic, with subtitles. Running time: 2 hours 3 minutes. In theaters. More

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      ‘Nanny’ | Anatomy of a Scene

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      Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera.Film directors walk viewers through one scene of their movies, showing the magic, motives and the mistakes from behind the camera. More

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      ‘The Offering’ Review: A Demon in the Family

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      In this Brooklyn-set horror film, an evil spirit causes torment at a Jewish funeral home.A serviceable slab of possession horror, “The Offering” unleashes evil in the hallowed halls of a Hasidic funeral home in Brooklyn. When the funeral director’s son, Art (Nick Blood), visits with his pregnant wife, Claire (Emily Wiseman), they arrive at the same time as the body of a scholar who summoned a demon before dying. Art’s fecklessness and the demon’s restlessness lead to trouble.Asked to help prepare the scholar for burial, Art promptly makes a hash of things and somehow releases the demon, Abyzou, known as a “taker” of children. Art is less observant than his kindly, widowed father, Saul (Allan Corduner), and has apparently offered the funeral home building as collateral for debts, but his general incompetence makes the story feel less about lost faith than filial failure.With Abyzou activated, the creepy whispers and ghostly assaults commence (with echoes of “The Vigil”). The director, Oliver Park, dwells on the Old World gloom of the funeral home, shuffling through the deck of a somewhat scattered story by Hank Hoffman (who does have impeccable credentials as a former shomer, or guardian, at a Jewish morgue) and Jonathan Yunger.The horror is most uncanny and effective when it’s using simple yet evocative effects — like Art’s exiting a room only to reappear in the same room — rather than jump scares. Wiseman, as Claire, has little to do but look bewildered (as the sole gentile in the building) and await the demon’s morbid attention. But the goat-headed Abyzou, unlike many supernatural beings in the genre, provides blunt frights that are appealingly less invested in elaborate stagecraft than in pure devastation.The OfferingRated R for violence. Running time: 1 hour 33 minutes. In theaters and available to rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

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      ‘Plane’ Review: Flight, Camera, Action

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      In this thriller, Gerard Butler and Mike Colter have to avoid a hostage situation and deliver a plane full of passengers to safety.Jesters on social media have already begun chortling about this movie’s minimalist title. Where did the snakes go?The movie’s basic designation is not without precedent. Some of you may remember “Airport” and its several sequels. Most of those movies spent the majority of their time in the air rather than in the terminal, so maybe it figures that most of the action in this thriller, directed by Jean-François Richet and starring Gerard Butler and Mike Colter (“Luke Cage”), is set on the ground.The twist is that this ground is unsafe in a way that a boarding gate rarely is. Butler plays Brodie, a pilot whose Singapore-to-Tokyo flight — after which he is to reunite with his beloved daughter, because of course — is downed by violent weather. With his co-pilot and fellow family man Dele (Yoson An), Brodie manages a landing on an unidentified island run by “separatists and militias,” whose leader, Junmar (Evan Dane Taylor), has the nasty habit of ransoming, and sometimes killing, hostages. Brodie, determined to deliver his passengers to safety, powers through the jungle in search of a way to communicate with home.If you guessed that the handcuffed convict who’s part of the flight’s manifest is actually a not-wholly-bad guy looking for a shot at redemption, go to the head of the class. Playing that part, Colter makes a good match with the stalwart Butler. Half a world away, Tony Goldwyn clenches his jaw in a kitted-out corporate conference room as the only honest crisis manager in the airline biz.This is a pacey item that can be recommended on the grounds that it’s a January release that’s not even close to awful. “Plane” sinks (or rises, depending on your perspective) to “hell yeah” ridiculousness only at the end, delivering a punchline that lands at the right time.PlaneRated R for bloody violence and language. Running time: 1 hour 47 minutes. In theaters. More

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      ‘Kitchen Brigade’ Review: Oh Chef! My Chef!

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      A sous chef is forced to take a job at a hostel for undocumented minors in this feel-good drama with a white-savior problem.Popular French cinema isn’t the most sophisticated when it comes to telling stories about race relations. It tends to fall back on ethnic stereotypes for laughs and seems to cater to viewers who might find “Green Book,” which has been criticized as tone deaf, to be a touching portrait of cross-cultural redemption. “Kitchen Brigade,” a feel-good drama set in a hostel for undocumented minors — with a kick of cooking-competition-show excitement — is far from the biggest offense to emerge from the country, but it doesn’t break the mold either.The director Louis-Julien Petit has made a career out of social-justice-oriented movies, tackling issues like workplace exploitation and the plight of homeless women through the lens of the people on-the-ground who just won’t take it anymore.In “Kitchen Brigade,” Cathy Marie (Audrey Lamy), an imperious white sous chef, eventually becomes one such angry civilian, but it takes the kindness and vulnerability of the young people to get her off her high horse.Forced out of necessity to take a job as the hostel’s live-in cook, Cathy Marie insists on maintaining the standards of a high-end establishment, which means she’ll need help. She gets it in the form of the hostel’s residents: young men with little to no cooking skills who come primarily from Africa and Southeast Asia. Cue the training process, with Cathy Marie barking orders like a coach in a sports movie, and some minor tensions with an angsty teenager who turns out to be a softy. Learning the tenets of French cuisine works as a metaphor for assimilation into French society, and the charismatic kids assimilate with glee.The real problem, however, is that the boys will be turned out of the country when they turn 18 unless they secure a way to stay, like a youth soccer contract or enrollment in a vocational school. That’s not so easy, it turns out, which galvanizes Cathy Marie into action.“Kitchen Brigade” is a white-savior story par excellence, though at least it’s not difficult to swallow — the young people are lovely, and so is the food.Kitchen BrigadeNot rated. Running time: 1 hour 37 minutes. In theaters and available to rent or buy on Apple TV, Vudu and other streaming platforms and pay TV operators. More

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      ‘Skinamarink’ Review: Night Terrors

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      Two children are trapped in a shape-shifting home in this spookily impenetrable horror experiment.“Where did it go?,” a child whispers early in “Skinamarink,” the unnerving debut feature from the Canadian writer and director Kyle Edward Ball. The child, Kevin (Lucas Paul), is referring to a window which has unaccountably vanished. He’s only 4, and he and his 6-year-old sister, Kaylee (Dali Rose Tetreault), have awakened in the night to find that the lights don’t work and objects in the home seem to be disappearing. And where are their parents?With a plot so rudimentary as to be virtually nonexistent, this experimental and aggressively inscrutable horror movie is mesmerizing in its dearth of action. For long stretches, Jamie McRae’s camera, adopting a child’s-eye view, patrols shadowy hallways and crawls along floors, its eerie angles and haphazard exposure settings straining the eyes and disorienting the mind. Groans and other, stranger sounds mix with the children’s panicked whispers, though their faces are mostly concealed. Time is unreliable, as is evident when a late title card forces a jolting reassessment.Opening in 1995 and resembling a long-buried V.H.S. tape, “Skinamarink,” with its scratchy silences and piggy bank-budget aesthetic, is chillingly surreal and infuriatingly repetitive. Yet Ball, expanding his 2020 short film, “Heck,” holds us hostage: There’s uncanny logic in his looping shots of pajama-clad legs and scattered Lego bricks, in the tinny jingle of cartoons on a flickering television screen. Like pieces of a jigsaw puzzle whose picture has long been lost, each scene promises a solution to the children’s predicament if we can only find its place within the whole.Ingeniously evoking a child’s response to the inexplicable, “Skinamarink” sways on the border between dreaming and wakefulness, a movie as difficult to penetrate as it is to forget.SkinamarinkNot rated. Running time: 1 hour 40 minutes. In theaters. More

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      Is Stephanie Hsu the ‘Dark Horse’ of Award Season?

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      Every time Stephanie Hsu thinks she has gotten used to the reactions to “Everything Everywhere All at Once,” something new manages to throw her for a loop.And on Friday night at a West Hollywood hotel bar, it was Steve Buscemi.“I’m sorry to be so rude,” said the 65-year-old actor, who sidled up to our table during an interview to say hello to Hsu. It turned out that Buscemi was a major fan of “Everything Everywhere,” the sci-fi hit in which Hsu plays the unhappy daughter of Michelle Yeoh’s multiverse-skipping savior: He’d seen the movie multiple times, including at an actors guild screening earlier that evening.Hsu, 32, is often stopped by people who love “Everything Everywhere,” but this was a pinch-me moment that she met with a big grin. Buscemi asked for a picture, and the buoyant Hsu leaped out of our booth to pose with him, then returned to her dirty martini. “That was crazy,” she told me after he left. “It’s all crazy!”Though the film came out nearly a year ago, its award-season afterlife has proved so potent that “Everything Everywhere All at Once” has begun to sound less like a title and more like the organizing principle of Hsu’s day planner. On the day we met, she had just completed several interviews and a pit stop at the Palm Springs International Film Festival; a few days later, she’d attend the Golden Globes, where her co-stars Jamie Lee Curtis, Ke Huy Quan and Yeoh were all nominated and where the latter two won major awards.Hsu was not nominated for a Globe, and as the ensemble’s least-known member, she has sometimes been left out of the awards conversation, though she did receive a Screen Actors Guild nomination on Wednesday morning. Funny and refreshingly honest, Hsu understands that nothing is guaranteed this awards season, and many may see her as an underdog. “The elephant in the room,” she said, “is the dark horse of me.”Still, even if Hsu isn’t as famous as her veteran co-stars, her presence is no less pivotal. In “Everything Everywhere,” Hsu plays Joy, who is crestfallen that her mother, a Chinese American laundromat owner named Evelyn (Yeoh), makes so little effort to understand her. It’s crucial that we feel for Joy because we soon learn that in every other universe but ours, she’s a flashy, universe-collapsing supervillain named Jobu whom our Evelyn is charged with defeating. Hsu drew a map to track how fed-up Joy became the nihilistic Jobu, and tried to imbue her baddie with a strong emotional core: Underneath it all, this is a supervillain who wants nothing more than to be embraced by her mother.Hsu bristled initially when Jamie Lee Curtis advised her to stay centered with the film starting to take off. But Hsu added, “As the year has unfolded, I’ve realized how little I knew about anything.”Ryan Pfluger for The New York TimesThe result is a big-screen breakthrough for Hsu, who had been best known for playing Mei Lin on “The Marvelous Mrs. Maisel” and for Broadway roles in “SpongeBob SquarePants: The Musical” and “Be More Chill.” She likens her awards-season stint to film school on steroids. “There are moments where it’s so fun, so joyous, so inspiring,” Hsu said. “And then there are moments where maybe you feel a little bit icky, because you realize that something’s happening behind the curtain that perhaps you were always suspicious about, but you just didn’t know how political it gets.”Still, whenever she gets too caught up in award shows and industry attention, Hsu endeavors to remember the often-tearful reactions of the fans who have flagged her down to talk about how much “Everything Everywhere” moved them.“I’m witnessing other people’s humanity in a way that is very alive,” she said, “and I’m like, ‘Oh my God, we did that. We did something that made people start crying even when they think about it.’ And that’s crazy. That came from our labor of love.”Inside the World of ‘Everything Everywhere All at Once’In this mind-expanding, idiosyncratic take on the superhero film, a laundromat owner is the focus of a grand, multiversal showdown.Review: Our film critic called “Everything Everywhere All at Once” an exuberant swirl of genre anarchy.The Protagonist: Over the years, Michelle Yeoh has built her image as a combat expert. For this movie, she drew on her emotional reserves.A Lovelorn Romantic: An ‘80s child star, Ke Huy Quan returns to acting as the husband of Yeoh’s character, a role blending action and drama.The Costume Designer: Shirley Kurata, who defined the look of the movie, has a signature style that mixes vintage, high-end designers and an intense color wheel.Gotham Awards: At the first big show of awards season, which is a spotty Oscar predictor but a great barometer for industry enthusiasm, the film took the top prize.Here are edited excerpts from our conversation.It’s been almost a year since “Everything Everywhere” came out, and you’re still going. How does it feel at this late date?A whole pandemic happened between when we filmed and now, so it’s kind of surreal. Obviously, it’s my first time on a press run like this, and it’s been wild, but so many people haven’t actually seen the movie yet, and it’s been really delightful to still bring it into people’s lives. I think its superpower is to somehow be able to make you feel a part of the mess of humanity again. To feel those roller-coaster feelings beside a stranger is a special thing.This script came to you shortly after you wrapped the third season of “Mrs. Maisel,” which you shot alongside “Be More Chill.” Did you feel ready for it?That was the first year where I finally admitted to myself that I was an actor. I’ve always been a little bit punk rock — probably in an impostor syndrome way — where everything always felt like an accident: How did I stumble onto Broadway? How did I stumble onto this TV show? And to do a show on top of that, it asked so much of my discipline and rigor that I was like, “OK, this is what I do.” And with that came a lot of responsibility and weight.It’s not fun to talk about identity or race because you want to talk about art and the craft, but the reality was that I’d never seen myself as a lead on Broadway because I was like, “I’m not a ‘Miss Saigon’ person, so there’s no path for me there.” And I never thought I could be in a period piece on television because every version I’ve ever seen of that is incredibly offensive. And so that year, I was breaking down all these barriers that had been placed around me, carving my own path in a really real way.Hsu, left, with Ke Huy Quan, Michelle Yeoh and James Hong in “Everything Everywhere All at Once.”Allyson Riggs/A24, via Associated PressBefore you had those stage and screen roles, you spent a lot of time doing experimental theater. Do you think you were rejecting the mainstream because you thought it might reject you?At the time when I was finishing school and living in New York, those roles were not available in the mainstream. And I had no interest in selling myself or just shrinking myself to an inappropriate cameo just so that I could say I added one more thing to my résumé. I remember in 2012, I went into a commercial audition and they were like, “OK, could you do it again, but with a more Asian accent?” And I said, “I’m so sorry, but this role is not for me. I don’t do that and I’m not interested in this part.”I walked out and I was fuming. I sat next to this actor and asked him, “Did they ask you to do an accent?” He was Asian and spoke perfect English, and he was like, “Well, yeah.” And I’m like, “Did you do it?” And he said, “I have no other choice.” I understand that people want to make it and they only see one path and have to bend and fold to have a life in the arts, but I always thought if that’s how it’s going to go for me, then I’m going to work at a bar or in a wood shop. I have to make things that matter to me. Life is too short to completely dehumanize yourself.When you came on board “Everything Everywhere,” did you think about how the movie would resonate for people who also don’t tend to see themselves onscreen?I knew the movie was going to be special, but I had no idea it was going to do what it has done. And it’s been really healing for me to hear how many people have been affected by it. So many daughters and mothers have been coming to me crying, saying, “I saw myself in the movie,” or “My relationship with my mother is just like that.”When you say that it’s been healing, what was it healing in you?I don’t know if I could ever make this film again because at that point in my life, I had nothing to lose. There really were no eyes on me, so I got to bring everything I value as an artist into that role, and the affirmation I have received has validated that the wildness and imagination inside of me is really resonating with a large mass of people.Your directors, Daniel Scheinert and Daniel Kwan, said this awards season has been emotional for the cast and crew. How have you experienced it?At the Gotham Awards, [the “Tár” director] Todd Field said we have to eradicate the word “best” when we talk about how we value art, and I felt that so deeply. But also on the same evening, when Ke won best supporting actor, I stood up so fast and screamed so loud that I almost passed out. And then when we won best picture, I couldn’t believe it. I’m not sentimental about this kind of stuff and yet I could not stop crying onstage.Why do you think you reacted that way?Even as a kid with ideas, I just never thought it could be me up there with my friends, making something I believe in that is being celebrated. I remember sitting in front of a TV when Halle Berry won at the Oscars — the only woman of color who’s ever won best actress — and I don’t remember anyone else who won that night, but I remember that moment. I’ve been reflecting on that a lot, because I didn’t realize how much I had deleted the possibility from my mind that I could actually ever be a part of this industry in a real way, doing something that I value and love. So to get to be there and feel this big hug from our peers felt completely surreal.I’m still processing all of it. I’m trying to allow myself to also feel vulnerable in this ride, because there are highs and there are definitely a lot of lows. I think the biggest thing I’ve been trying to balance is how to genuinely receive the goodness while not protecting myself too much that I can’t enjoy the ride. It’s a sweet, sweet moment that may never come again. But also, you can’t get attached to the sweetness, because then you start chasing something that’s not real.Hsu saw few actresses of color winning honors when she was coming up: “I didn’t realize how much I had deleted the possibility from my mind that I could actually ever be a part of this industry in a real way.”Ryan Pfluger for The New York TimesTell me more about those highs and lows.After Jamie Lee Curtis saw the movie at South by Southwest, she took me aside and said, “This year is going to be a total roller coaster for you. Center yourself.” And I remember thinking, “Jamie, listen, I’m a grown-ass woman and I’ve been around the block. I know how to stay centered.” But as the year has unfolded, I’ve realized how little I knew about anything.You have to hold onto your self-worth in such a profound way, and it’s hard, because it feels like other people’s opinions of you are going to affirm whether or not you get to keep making movies, which is such a crazy trap and also very real, right? But I’ve had to continue to remind myself that I got to this moment without anyone ever knowing anything about me, so it really is just all about the work.And it’s work that people are responding to with a lot of passion.Yeah, but this industry is weird. You have moments like the one we just had with Steve Buscemi, and then you also have moments where you walk on a carpet and people are like, “Lana Condor, Lana Condor!”No! Did that happen?It was just once, but it was very pronounced. In everybody’s defense, my mom also thinks I look like Lana Condor: She sent me a picture of Lana Condor a year ago and was like, “You look like this woman.” But after the Lana Condor thing happened, we were at a screening in New York, and a bunch of people kept going up to my publicist and the Daniels’ publicist, who are both Asian, and they were like, “Congratulations, your performance is incredible.” And they were like, “Huh?”So listen, this ride is amazing, but that is real. We have not transcended this moment, right? James Hong [who plays Yeoh’s father] started acting at a time when people wouldn’t even say his name, they would literally just call him “Chinaman” and say “Get on your mark.” Michelle waited almost 40 years for her first chance of being No. 1 on the call sheet, and Ke left acting for [nearly] 20 years. As successful as this film has been, the biggest fear on the other side is “What if this is my last chance?”How different are you now than you were a year ago?The biggest thing I’ve learned from this past year is how to continue to show up for myself. This is not something I ever thought I would be in the conversation for, but I know I brought something to this project that is completely singular. Sometimes, things have made me want to just completely disappear into the background, but there are people who felt something in this character, people who are rooting for roles like this to exist, people who are rooting, also, for me to elbow more space or even just to stand here.And so it really is the masses that have been continuing to push me forward to show up for myself. Because as confusing as all of this is, I am so proud of our movie and what I was able to bring to it, and proud for it to be my big introduction to what I believe art can or should be. Whether that is clean enough for people to digest, that’s a whole other story. More

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      Steven Spielberg Gets a Record 13th Directors Guild Award Nomination

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      The all-male list omitted major contenders this season like James Cameron, Baz Luhrmann, Sarah Polley and Gina Prince-Bythewood.The Directors Guild of America announced its feature-film nominees on Wednesday, awarding a record 13th nomination to Steven Spielberg, who also won the best director Golden Globe this week for “The Fabelmans.” The four other directors nominated for the DGA’s top prize were Todd Field (“Tár”), Daniel Kwan and Daniel Scheinert (“Everything Everywhere All at Once”), Joseph Kosinski (“Top Gun: Maverick”) and Martin McDonagh (“The Banshees of Inisherin”).Several big names were shut out, including James Cameron (“Avatar: The Way of Water”) and Baz Luhrmann (“Elvis”), who directed two of the year’s most successful films. And though the last two DGAs for feature-film directing were won by Jane Campion (“The Power of the Dog”) and Chloé Zhao (“Nomadland”), representing the first time in the guild’s history that women triumphed in that race in back-to-back years, all five of this year’s nominees were men, as contenders Sarah Polley (“Women Talking”) and Gina Prince-Bythewood (“The Woman King”) failed to make the shortlist.Typically, four of the five DGA nominees are also nominated for the best-director Oscar: Last year, DGA nominee Denis Villeneuve (“Dune”) was the only one to not make the cut, as Oscar voters chose “Drive My Car” director Ryusuke Hamaguchi instead. The year before, DGA pick Aaron Sorkin (“The Trial of the Chicago 7”) fell short and was replaced in the Oscar nominations by Thomas Vinterberg (“Another Round”).Here is a rundown of the nominees in the major film and television categories. For the complete list, including commercials, reality shows and children’s programming, go to dga.org.FilmFeatureTodd Field, “Tár”Joseph Kosinski, “Top Gun: Maverick”Daniel Kwan and Daniel Scheinert, “Everything Everywhere All at Once”Martin McDonagh, “The Banshees of Inisherin”Steven Spielberg, “The Fabelmans”First-Time FeatureAlice Diop, “Saint Omer”Audrey Diwan, “Happening”John Patton Ford, “Emily the Criminal”Antoneta Alamat Kusijanovi, “Murina”Charlotte Wells, “Aftersun”DocumentarySara Dosa, “Fire of Love”Matthew Heineman, “Retrograde”Laura Poitras, “All the Beauty and the Bloodshed”Daniel Roher, “Navalny”Shaunak Sen, “All That Breathes”TelevisionDrama SeriesJason Bateman, “Ozark” (“A Hard Way to Go”)Vince Gilligan, “Better Call Saul” (“Waterworks”)Sam Levinson, “Euphoria” (“Stand Still Like the Hummingbird”)Aoife McArdle, “Severance” (“Hide and Seek”)Ben Stiller, “Severance” (“The We We Are”)Comedy SeriesTim Burton, “Wednesday” (“Wednesday’s Child Is Full of Woe”)Bill Hader, “Barry” (“710N”)Amy Sherman-Palladino, “The Marvelous Mrs. Maisel” (“How Do You Get to Carnegie Hall?”)Christopher Storer, “The Bear” (“Review”)Mike White, “White Lotus” (“BYG”)Movies for TV and Limited SeriesEric Appel, “Weird: The Al Yankovic Story”Deborah Chow, “Obi-Wan Kenobi”Jeremy Podeswa, “Station Eleven” (“Unbroken Circle”)Helen Shaver, “Station Eleven” (“Who’s There”)Tom Verica, “Inventing Anna” (“The Devil Wore Anna”) More