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      Read Halle Berry’s #SeeHer Award Speech

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      On Sunday evening, Halle Berry accepted the Critics Choice Association’s #SeeHer Award, which honors a woman who pushes “boundaries on changing stereotypes” and furthers “authentic portrayals of women across the entertainment landscape.”In doing so, the Oscar winner referenced her recent drama “Bruised,” her directorial debut. First, she said, she asked the producers why she couldn’t act in it. Then, she asked why she couldn’t direct it. Both times, they answered, “Why not?”“And then finally, when the film came out, I got the courage to ask someone what he thought of the movie,” Berry said. “And he said, ‘I have a hard time watching a woman get battered and beaten. It made me feel uncomfortable.’”“And in that moment, I knew exactly why I had to tell this story. I knew exactly the power of the story,” she continued. “Because I said, ‘If you had a hard time, if it made you uncomfortable watching that story, imagine being that woman living that story.’”That, she said, was the power of storytelling: It can help people consider others, find compassion and empathy for them. Berry said she used to aspire to roles typically played by white men.Now, she has realized that “for those roles to work, they would have to be substantially changed,” she said. “It would have to be written with the reality of my journey, in all of its beauty and all of its pain.”That, the actress and director said, is why she is grateful to be creating in the moment, when women are telling their own stories. She concluded: “We will use our emotional intelligence and we will tell stories that don’t fit preconceived notions. No, we will tell stories that see us fully in all our multitudes and contradictions, because we are confident and we are scared. We are vulnerable and we are strong. We are beautiful and we are abused. We are everything and all of that, and all at the same time. Because if we deny our complexity, then we deny our humanity.We won’t always be pretty, and we will never be perfect, but what we will be is honest and true, no matter how uncomfortable that makes you. These are the stories we have to fight to tell, and these are the stories that the world needs to see. So to every little girl who feels unseen and unheard, this is our way of saying to you, ‘We love you and we see you. And you deserve every good thing in this world.’” More

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      William Hurt, Oscar-Winning Leading Man of the 1980s, Dies at 71

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      A four-time Academy Award nominee, he starred in such films as “Body Heat,” “The Big Chill,” “Children of a Lesser God” and “Broadcast News.”William Hurt, who burst into stardom as the hapless lawyer Ned Racine in “Body Heat” and won an Oscar for best actor for “Kiss of the Spider Woman,” portraying a gay man sharing a Brazilian prison cell with a revolutionary, died at his home in Portland, Ore., on Sunday. He was 71.A son, Alexander Hurt, said the cause was complications of prostate cancer.Mr. Hurt, tall, blond and speaking in a measured cadence that lent a cerebral quality to his characters, was a leading man in some of the most popular films of the 1980s, including “The Big Chill” (1983), “Children of a Lesser God” (1986), “Broadcast News” (1987) and “The Accidental Tourist” (1988).In later years, Mr. Hurt transitioned from leading man to supporting roles, and was nominated for an Academy Award a fourth time for “A History of Violence” (2005).Janet Maslin wrote in The New York Times in 1985 of the “brilliant achievement” of Mr. Hurt and his co-star, Raul Julia, in “Kiss of the Spider Woman.”“Mr. Hurt won a well-deserved best actor award at the Cannes Film Festival for a performance that is crafty at first, carefully nurtured and finally stirring in profound, unanticipated ways,” she wrote. “What starts out as a campy, facetious catalog of Hollywood trivia becomes an extraordinarily moving film about manhood, heroism and love.”Despite his successes as a leading man in Hollywood, he told The Times in 1990 that “theater is a language I speak better or am more tuned into than English.”“Even one moment onstage is a glacier of comprehension,” he added. “That’s where the work is. And it’s as fascinating to study as any other science.”In a 2009 interview with The Times, he explained: “I don’t have to be the star, physically. My greatest offering is my concept. It isn’t my face.”His approach, he said, was to “basically try to make my body as much a matter of Silly Putty as I can, and in some sense sculpt that to be perfectly appropriate to themes and the metaphors that are in the play at hand.”A full obituary is being prepared.Christine Chung More

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      ‘All My Friends Hate Me’ Explores British Social Anxiety

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      The film “All My Friends Hate Me” satirizes anxiety and paranoia among upper-class British millennials. Its writers say they are laughing at themselves most of all.LONDON — Seven years ago, Tom Stourton, 35, received a wedding invitation from two college friends. He was surprised, having drifted apart from the couple. But he attended the event, arriving hung over and sleep deprived from another party the night before.“Over the course of the day, I became increasingly paranoid that I had been invited as a joke,” Stourton recalled in a recent video interview. He feared the groom would reveal the prank during the speeches.Looking back more recently, “it seemed like a funny idea,” he said, “being somewhere where you should be having fun with your friends, but there’s this undertone of something hostile.”The writer, actor and comedian wove this setup into a screenplay with his co-writer, Tom Palmer, also 35. The resulting film, “All My Friends Hate Me,” opens in limited theaters Friday, before coming to streaming platforms later this month.Stourton plays Pete, an anxious, self-involved 31-year-old who corrals a group of college friends to celebrate his birthday in the countryside. Over the course of the boozy weekend, he becomes increasingly worried that they secretly despise him. In a video interview, the film’s director, Andrew Gaynord, described its world as “manor houses and posh people and rolling fields — very British.”For Pete and his “mates,” the equally British social norm of keeping a stiff upper lip conceals contemporary anxieties about class, wealth and privilege. Insecurities are deeply felt but never discussed, and over the course of the weekend, Pete’s mental state starts to unravel. The film is part black comedy, part psychological thriller. “I liked the idea of a guy blowing things out of proportion in his head — and that playing like a horror film,” Gaynord said.Social anxiety like this is one aspect of a constellation of mental health issues impacting young British people, and its effect on young men has been getting more attention in recent years. Twenty percent of men in Britain aged 16 to 29 are likely to experience some form of depression, according to a recent report from the Office for National Statistics. The BBC recently announced a new documentary about men’s mental health, which is centered on the singer James Arthur, and, in Arthur’s words, “our reliance as a nation on anti-depressants.”In 2019, Prince William helped introduce a campaign, Heads Together, to tackle stigma around mental health. Last year, his younger brother, Prince Harry, discussed his own struggles in “The Me You Can’t See,” a documentary series for Apple TV+ that he co-produced with Oprah Winfrey.When they were writing the script, Palmer and Stourton wanted to make sure they were depicting anxiety authentically within this wider cultural context. So Palmer consulted with the author Olivia Sudjic, whose 2018 book, “Exposure,” discusses modern anxiety. According to Sudjic, millennials, in particular, can be on high alert, policing their own behavior. In a recent video interview, she described this anxiety as a “ripple effect” of “paranoia around ‘cancel culture’ and vigilance online” that afflicts a generation of adults who grew up on the internet.Pete (Stourton), left, and Archie (Graham Dickson) both struggle with fragilities in the film.Super LtdBut in the four years since “Exposure” was published, the ways that anxiety is discussed have shifted, Sudjic said. Before the pandemic, there was a “stigma,” she said, around being open about your mental health issues if your life looked more comfortable than other people’s. Then, during Britain’s lockdowns, even the wealthy struggled. Since then, it’s become more “OK to talk about mental health even if you feel like you’re very privileged,” she said.In “All My Friends Hate Me,” which was filmed in late 2019, the discomfort of acknowledging your own wealth and privilege needles the characters, a familiar thread in much of Stourton and Palmer’s work. The pair met at Eton College, an elite all-boys boarding school known for educating princes and prime ministers. After university, they formed the comedy duo “Totally Tom,” and in 2010, a YouTube video they made went viral. In it, Stourton plays a student at the University of Bristol, or as Palmer put it to The Spectator newspaper, a “posh buffoon” trying incredibly hard to be cool. The following year, they were nominated for best newcomer at the Edinburgh Festival Fringe for a show directed by Gaynord, who the pair had met on the British comedy circuit.The character of Pete is a continuation of these themes.“They’re sort of fair game, aren’t they?” Palmer said in the video interview, referring to “posh people.” The pair wrote the film with a focus on trying to make fun of themselves, Stourton said.Gaynord, however, comes from a different background. “I grew up in a council house,” he said. “My mum’s a cleaner, my dad’s a taxi driver, in Manchester. My school wasn’t particularly good.” What he and “the Toms” had in common, he said, was a tendency toward anxiety and overthinking.Material circumstances are at the root of the “existential dread” plaguing many young British men, according to Alex Holmes, the author of “Time to Talk: How Men Think About Love, Belonging and Connection.”In a recent video interview, Holmes described turning 30 as “the benchmark age where everything has to change dramatically.” Not meeting certain milestones — like acquiring a mortgage, getting married and starting a family — can lead men to a lot of anxiety around a “feeling of catching up,” he said.In “All My Friends Hate Me,” Pete finds himself in his friend’s parents’ house, drinking his friend’s parents’ whiskey. As the weekend goes on, his friends also mock him in a scathing “comedy roast” that Pete finds deeply unfunny. It’s a nod to the cruel humor Stourton was surrounded by as a student, which was really “a way to get one up on someone, so the jokes don’t end up being angled toward you,” he said.The infantilizing nature of the weekend becomes an additional source of stress for Pete, as does the presence of Harry (Dustin Demri-Burns), a new addition to the group, and his ex and current girlfriends. The film finds comedy in the tension between the intensity of Pete’s suffering at all this and the possibility it’s all in his head.“It’s particularly funny,” Stourton said, “watching the white privileged man experiencing being gaslit.”After all, “he doesn’t have any real problems in his life,” Gaynord said. “I think it’s quite cathartic to laugh at that.” More

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      ‘Encanto’ May Be Accurate, but Can It Carry a Whole Country?

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      The filmmakers behind the Disney hit worked for cultural accuracy. Some Colombians and Colombian Americans are looking for more.“Encanto” wasn’t always set in Colombia.The germ of the idea for the Disney feature can be traced to 2016, when the “Encanto” directors Jared Bush and Byron Howard were still working on “Zootopia.” They knew they wanted to tell a story about family — and how family members can struggle to truly see each other. Then they asked: Where should this movie take place?Enter Natalie Osma and Juan Rendon, two Colombian filmmakers who worked on the behind-the-scenes documentary “Imagining Zootopia.”“As we were trying to figure out all of these perspectives and how to bring all the wonders and splinters of Latin America in a way that felt real,” Bush said, “they were like, ‘It’s the crossroads. Everything you can imagine is there.’”Osma and Rendon both became members of the Colombian Cultural Trust, a 10-member group of specialists — historians and anthropologists, biologists and botanists — dedicated to the movie’s details.“Encanto” has been praised for its cultural accuracy. And many Colombians and Colombian Americans loved the film — but it has also started a debate: What can and can’t one movie capture about a country?Whether it’s the racial dynamics that exist today or a strong sense of place in a country one-ninth the size of the United States, the film’s portrayal of nuanced and critical topics has sparked countless discussions among those of Colombian descent.“I found it charming,” the writer and editor Camilo Garzón said in an interview. “I found it beautiful. At the same time, it fell short in terms of what representation for representation’s sake can be.”He explained, “In the spirit of American meliorism, the criticism is to make things better, not necessarily because I didn’t like it.”Colombia, located where Central and South America meet, is home to more than 50 million inhabitants, and its rich cultural heritage reflects influences from Indigenous populations, European colonization, enslaved African people and later immigration.In Hollywood, the nation has been used mainly to tell stories about drugs, drug lords and violence — known as narconovelas — and that is why “Encanto” means so much: The country has never received treatment like this from a major American studio before.Explore the World of ‘Encanto’Disney’s new film, about a gifted family in Colombia, pairs stunning animation with spellbinding songs by Lin-Manuel Miranda.Review: “Encanto” charms with its focus on family dynamics, fantastic feats of wizardry and respect for Latino culture, writes our film critic.Colombian Picture: The movie has been praised for its cultural accuracy. But for many Colombians, it has sparked a conversation about cultural representation.The Voice of Mirabel: Stephanie Beatriz, who won over fans with her role in “Brooklyn Nine-Nine,” discusses taking on the lead role in the film.An Enchanting Soundtrack: The film’s album of music recently climbed to the top of the Billboard 200, displacing Adele’s “30.”A Slice of His Homeland: A Times reporter watched “Encanto” with her Colombian father. Here’s what they thought.The film, which is up for the Oscar for best animated feature this month — follows the Madrigals. Years ago, Alma Madrigal fled her home to escape armed conflict. She saved her three infants but lost her husband. Devastated, the matriarch clung to the candle lighting her way, which became enchanted. Its magic imbues her family members with fantastical gifts when they come of age — except for Alma’s youngest granddaughter, Mirabel.In 2018, Bush; Howard; the executive music producer Tom MacDougall; Lin-Manuel Miranda, who wrote eight songs for the film; and Miranda’s father, Luis A. Miranda Jr., credited as a story consultant, traveled through Colombia for two weeks on a research trip.They started in sunny Cartagena on the Caribbean coast, drove roughly an hour and a half to San Basilio de Palenque, visited in and around the capital, Bogotá, and saw Bucaramanga, the city of parks. In Barichara, they heard traditional bambuco music, which would inspire the song “Waiting on a Miracle.” They ended in the Eje Cafetero, the coffee-growing region, including Salento and the Valle de Cocora. The soaring wax palm trees of the valley would later feature heavily onscreen.The research process continued throughout the five years of production. Familia, a group of Latino Disney employees, was assembled to share personal perspectives that would help shape the film. Iterations of the project were screened about eight times, said a producer of the film, Yvett Merino. Familia, which she is part of, watched each time and read early scripts.“I joke that they were like true family, because they gave us true feedback,” Merino said. “When they didn’t like something, they really let us know.”The opposite held true, too: Members of the Colombian Cultural Trust made clear what they thought should be included, like the story line of conflict and displacement.In 2016, the Colombian government signed a peace deal with the largest guerrilla group, the Revolutionary Armed Forces of Colombia, supposedly heralding the end of a conflict that had left more than 220,000 people dead over more than half a century.“We were repeatedly asked, ‘Please don’t shy away from that; that is part of our history,’” Bush said. “By going through it, you also see the incredible resilience of Colombians.”Garzón, the writer and editor, was born in Bogotá and moved to the United States at the age of 18. “It’s beautiful to see different things that you’re like, ‘Oh, my God, this makes me feel back at home,’” he said in an interview. “And at the same time, that’s not home, because home wouldn’t look like that.”He contrasted the pueblo surrounding the Madrigal family’s enchanted house with the town of Macondo, where the Colombian author Gabriel García Márquez set his novel “100 Years of Solitude.” Both are fictional, but Macondo is believed to be based on Aracataca, García Márquez’s actual childhood home, while the pueblo is an amalgam of Colombian sites.“That cheapens the places, cheapens the significance of the geographies,” said Garzón, who critiqued the film’s generic setting in an article for Intervenxions, an online publication of the Latinx Project at New York University.He also saw a family whose members looked deeply different from one another, but lived in harmony — without ever talking about how race affects their lives.This, he said, was unrealistic: It was a representation of Colombia projected from an American perspective. But as he kept watching, he began to see the film’s depiction instead as an ideal to strive for — whether or not that was the filmmakers’ intent.Aiko Hilkinger, a Japanese German animation screenwriter from Colombia, thought “Encanto” was visually beautiful, stunning. It looked like Colombia, she said. But echoing Garzón, she said it didn’t feel like home. And she wrote as much, in an op-ed for Remezcla.“Because of the lack of Colombian people behind this film in positions where they could make decisions and actively influence people — particularly from the directing and the writing perspective — it doesn’t feel like a Colombian film,” Hilkinger said in an interview. “It doesn’t feel like you’re portraying Colombian culture and Colombian people in a way that’s authentic to Colombia.”Hilkinger said it seemed to her that the film was made more for Latinos who were born or living in the United States than for those from or living in Colombia. At the same time, though, she loves that young Latinos are seeing themselves onscreen, connecting with characters who look like them.Lina Britto, an associate professor of Latin American and Caribbean history at Northwestern University, agreed with the criticisms about place and race. “But I think expecting that from a movie like this would be not understanding the alphabet that they are using to write the story,” she said. “And the alphabet is the alphabet of magical realism.”The professor, who is from Colombia, said accuracy was not necessarily a concern or a goal in magical realism. She said the film’s premise — that the Madrigals received magical gifts as a result of overcoming tragedy — could open up a conversation about the history and reality of Colombia in an artistic manner.“Each person has his own unique talent,” Britto said, “that is the product of each one of them transmuting the trauma into something special and something unique and something that is going to be of service to others, not just to themselves.”Britto views each gift or talent as a form of justice and reparation. Which, she said, is “absolutely crucial” to Colombia at this moment, as the peace deal between the government and the Revolutionary Armed Forces of Colombia threatens to unravel. In the courage of the young protagonist, Mirabel, and the receptiveness of young viewers, though, she sees hope for the future.“It’s the audience — and the insightfulness, the intelligence, the open-mindedness of this generation,” Britto said, “that has pushed older people — the producers, the creators — to be more daring.”In Colombia, “Encanto” was the highest-grossing film of 2021. According to the culture minister, Angélica Mayolo, almost four million people saw the movie in theaters, generating more than $10 million at the box office. (A percentage of that, totaling about $560,000, goes to the country’s Film Development Fund, which helps filmmakers with screenplay development, production and more.)“What, for me, would be the greatest win or success for ‘Encanto’ — aside from the three award nominations in the Oscars — is how the world now sees Colombia,” Mayolo said in an interview. “We’re no longer seen just as the country of drug lords. We are seen in a more positive way.”Mayolo pointed to the more than 16 companies currently working on production in the country — including Netflix, with “100 Years of Solitude” and “Freelance,” starring John Cena and Alison Brie — as proof that they way the world views Colombia is changing.She added: “We cannot deny our history and our conflict. But what we really want to reaffirm is our new moment.” More

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      Oscar Rewind: When Rita Moreno Made History and Thanked No One

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      The actress explains why she gave one of the shortest Academy speeches ever when she became the first Latina to win an acting Oscar 60 years ago.It was the night that cemented her place in history, and Rita Moreno almost skipped it.In February 1962, Moreno, then 30, was in the Philippines, shooting “Cry of Battle” — a black-and-white World War II film in which she played the English-speaking leader of a band of Filipino fighters. So when she found out that she had been nominated for her first Academy Award — for best supporting actress for her performance as Anita in “West Side Story” — she took a moment to celebrate. And then, she got pragmatic.As a star of “Cry of Battle,” she would still be needed on set — 7,300 miles from the Santa Monica Civic Auditorium, where that year’s Oscars ceremony would take place in April.“I was absolutely positive Judy Garland was going to win for ‘Judgment at Nuremberg,’” Moreno, now 90 and still vivacious and irreverent, said in a recent phone conversation from Carmel-by-the-Sea, Calif., where she was on a trip with her daughter.But then she won a Golden Globe — and had a change of heart. She bought an airplane ticket.“I flew into California thinking, ‘Hey, if there’s one iota of a chance that I may win, I need to be there,” said Moreno, who was up against Garland, Fay Bainter (“The Children’s Hour”), Lotte Lenya (“The Roman Spring of Mrs. Stone”) and Una Merkel (“Summer and Smoke”).It didn’t hurt that the film she was nominated for — “West Side Story,” Robert Wise’s adaptation of the Broadway musical — was a hit both at the box office and among critics, or that it had racked up 11 nominations, including best picture. The New York Times film critic Bosley Crowther called it “a cinema masterpiece.”But leading up to the ceremony, Moreno was so pessimistic about her chances that she practiced her “loser face” and made up speeches about how “it was a lousy movie” and she “didn’t want it anyway.” But her heart wasn’t in it. She did want to win — badly.So on April 9, 1962, when Rock Hudson opened the envelope, paused, then read her name — making Moreno, who is Puerto Rican, the first Latina actress to win an Academy Award — her saucer-size eyes and open mouth said it all.Explore the 2022 Academy AwardsThe 94th Academy Awards will be held on March 27 in Los Angeles.A Makeover: On Oscar night, you can expect a refreshed, slimmer telecast and a few new awards. But are all of the tweaks a good thing?Best Actress Race: Who will win? There are cases to be made for and against each contender, and no one has an obvious advantage.A Hit: Ryusuke Hamaguchi’s “Drive My Car” is the season’s unlikely Oscar smash. The director Bong Joon Ho is happy to discuss its success.  Making History: Troy Kotsur, who stars in “CODA” as a fisherman struggling to relate to his daughter, is the first deaf man to earn an Oscar nomination for acting. ‘Improbable Journey’: “Lunana: A Yak in the Classroom” was filmed on a shoestring budget in a remote Himalayan village. In a first for Bhutan, the movie is now an Oscar nominee.“I didn’t expect to win,” Moreno said, then added with a laugh, “No one who’s watched it can argue with that.”But as she walked to the stage in her Pitoy Moreno gown, with a voluminous black-and-gold skirt and black sleeveless top, open-mouthed every step of the way, she had just one thing on her mind. (Well, two: The first, she said, was “Don’t run; it’s not dignified.”)“I remember thinking very clearly, ‘Do not thank anyone,’” she said. “They didn’t give you the part as a favor. They were forced to give it to you because you did the best screen test.”She delivered one of the shortest acceptance speeches in Oscars history: “I can’t believe it! Good Lord! I leave you with that.” It lasted just seven seconds.“I ran out of anything to say once I decided I wasn’t going to say thank you,” she said. “And I’ve been trying to make up for it with long acceptance speeches ever since.”But offstage, her night was only getting started: After accepting the award from Hudson, she ran into Joan Crawford backstage, who was there to present the best actor award and, as Moreno put it, “drunk as a skunk on vodka.”“She hugged me so hard she covered my face entirely,” Moreno said. “She was built like a linebacker. And she’s hugging me and the photographer is saying ‘Miss Crawford, I can’t see your face. Would you please uncover your face?’”Backstage Moreno missed the night’s other most memorable bit of drama: A New York City cabdriver, upset that Bob Hope hadn’t been nominated for his role as a radio host in “The Big Broadcast of 1938,” sneaked in, climbed onstage and announced, “Ladies and gentleman, I’m the world’s greatest gate-crasher and I just came here to present Bob Hope with his 1938 trophy.”He promptly produced a homemade statuette.“Really?” Moreno said when told of the episode. “I don’t recall that at all! I must’ve won the Oscar just before that and been in the press room. That’s the only way I wouldn’t remember that. That’s unforgettable.”Moreno didn’t linger too long after her big win, as she had a 15-hour flight back to Manila the next day. Her early departure also meant she missed all the phone calls, flowers and telegrams that arrived for her in the United States. But a friend told her later that up and down El Barrio in New York — Latinos stuck their heads out their windows the moment Hudson announced Moreno’s name — and screamed.“I was deprived of all of that wonderfulness because I had to go back and make this [expletive] war movie in Manila,” she said.Our Reviews of the 10 Best-Picture Oscar NomineesCard 1 of 10“Belfast.” More

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      Alec Baldwin Seeks to Avoid Liability in Fatal ‘Rust’ Shooting

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      In an arbitration demand against his fellow producers on the film, he denied culpability in the killing of a cinematographer and said he should not be held financially responsible.Alec Baldwin gave his most detailed account yet of fatally shooting a cinematographer on the set of the film “Rust” last year in an arbitration demand that his lawyers filed Friday against his fellow producers, claiming that his contract protected him from financial responsibility in her death and seeking coverage of his legal fees.Mr. Baldwin has been named in several lawsuits seeking damages since he shot and killed the cinematographer, Halyna Hutchins, on Oct. 21 in New Mexico while practicing for a scene that required him to draw a gun. The filing said that he was not responsible for her death, since he had been assured that the gun did not contain any live ammunition and because he was not responsible for checking the ammunition or for firearm safety on the set.The filing provided new details of Mr. Baldwin’s role as a producer of “Rust,” a production some former crew members claimed in lawsuits had sacrificed safety by cutting costs. While Mr. Baldwin was involved in creative matters, the filing said, others had authority over hiring and budgets. Mr. Baldwin was to be paid $250,000 to star in the movie and act as a producer, it said, but he gave back $100,000 as an “investment” in the film.And the filing contained text messages that Mr. Baldwin had exchanged with Matthew Hutchins, the widower of the slain cinematographer, which showed how their relationship had deteriorated over time — from mutual expressions of condolence and support in the immediate aftermath of the shooting to the pointed wrongful-death lawsuit Mr. Hutchins filed against Mr. Baldwin this year. Brian Panish, a lawyer for Mr. Hutchins, said in a statement that Mr. Baldwin was trying to avoid accountability for his “reckless actions.” The filing provided a vivid account of the fatal shooting on the New Mexico film set, which took place after lunch as Mr. Baldwin rehearsed a scene inside a church in which his character, Harland Rust, is cornered and draws his gun.“Rust’s Colt COCKED quietly now …” the filing quotes the direction in the script, as his pursuers approach. Then, shortly after that: “Colts EXPLODING.”Ms. Hutchins told Mr. Baldwin how to position the gun, the filing said.“She directed Baldwin to hold the gun higher, to a point where it was directed toward her,” it said. “She was looking carefully at the monitor and then at Baldwin, and then back again, as she gave these instructions. In giving and following these instructions, Hutchins and Baldwin shared a core, vital belief: that the gun was ‘cold’ and contained no live rounds.”Mr. Baldwin then asked Ms. Hutchins if she wanted him to pull back the hammer, as the script instructed, and she said yes, the filing said.“Baldwin then pulled back the hammer, but not far enough to actually cock the gun,” it said. “When Baldwin let go of the hammer, the gun went off.”It went on to describe the confusion and horror after the shooting, as Ms. Hutchins was flown by helicopter to a hospital, where she was later pronounced dead. It was later, at the end of his interview with the Santa Fe County Sheriff’s Office, that Mr. Baldwin was shown a photograph of the projectile that had passed through Ms. Hutchins and then wounded the film’s director, Joel Souza, the filing said.What Happened on the Set of ‘Rust’What We Know: A gun that was being used as a prop by the actor Alec Baldwin on the set of the movie “Rust” went off, killing the film’s director of photography and wounding the director.Remembering the Victim: Halyna Hutchins was the movie’s director of cinematography.Baldwin’s Account: Mr. Baldwin spoke of the incident in an emotional ABC News interview, insisting he was not to blame in the fatal shooting.The Family Sues: Ms. Hutchins’s family has filed a wrongful-death lawsuit in New Mexico against crew members and producers.Denying Culpability: Mr. Baldwin, who has been named in the suit, has claimed that his contract protects him from financial responsibility in the death.“Baldwin recognized the object as a live bullet, and he finally began to comprehend what had transpired on the set of ‘Rust’ that day,” it said. “He was shocked.”In the filing, Baldwin’s lawyer, Luke Nikas, says a clause Mr. Baldwin and his company had signed in his contract with Rust Movie Productions L.L.C. means he bears no financial responsibility for legal fees or claims arising out of the death. The filing, with the JAMS private arbitration service, seeks to enforce the clause. The document names Rust Movie Productions L.L.C. and Ryan Smith, one of the other producers, as the respondents in the claim.“Someone is culpable for chambering the live round that led to this horrific tragedy, and it is someone other than Baldwin,” Mr. Nikas wrote in the claim, portraying Mr. Baldwin as a victim who trusted others to do their jobs and is haunted by Ms. Hutchins’s death. “This is a rare instance when the system broke down, and someone should be held legally culpable for the tragic consequences. That person is not Alec Baldwin.”Representatives of Rust Movie Productions L.L.C. and a lawyer for Mr. Smith did not immediately respond to a request for comment.Mr. Nikas described in the claim how, in the weeks after the fatal shooting, Mr. Baldwin had sought to persuade the cast and crew of “Rust” to finish the film to honor Ms. Hutchins, outlining a plan in which an insurance payout and the film’s profits would go to a settlement for Mr. Hutchins and the couple’s 9-year-old son.Shortly after the shooting, the filing said, Mr. Baldwin had breakfast in Santa Fe with Mr. Hutchins and his son. At the meeting, the filing said, “Hutchins hugged Baldwin and told him, ‘I guess we’re going to go through this together.’” Mr. Baldwin denied responsibility for the shooting in an ABC News interview in December with George Stephanopoulos. Matthew Hutchins, the widower of the slain cinematographer, would later say that the interview had made him “angry.”Jeff Neira/ABC via Getty ImagesBut their relationship, which continued through a series of texts and calls, broke down in the aftermath of a television interview Mr. Baldwin gave in December in which he denied responsibility for Ms. Hutchins’s death; Mr. Hutchins later filed a lawsuit against Mr. Baldwin and followed it by giving his own television interview, on NBC’s “Today” show in February, in which he described being angered by Mr. Baldwin’s deflection of blame. Although a number of crew members have described the set as unsafe, and several quit shortly before the fatal shooting, the filing said that Mr. Baldwin had not heard about or observed any safety problems on the set. In the filing, Mr. Baldwin sought to rebut several claims that Mr. Hutchins and some “Rust” crew members had made in lawsuits and in comments to the news media.Two lawsuits filed by crew members have claimed that Mr. Baldwin should have checked that the gun was safe to handle, even after he had received an assurance from the film’s first assistant director that it was.But the new filing said that during firearm training for the film, the movie’s armorer, Hannah Gutierrez-Reed, had told Mr. Baldwin that “it was her job to check the gun — not his.” That instruction was similar to what he had been told before, it said. (Asked for comment, a lawyer for Ms. Gutierrez-Reed said he was reviewing the filing.)“An actor cannot rule that a gun is safe,” the filing said. “That is the responsibility of other people on the set.”And while a lawsuit filed by Serge Svetnoy, the film’s gaffer, claimed that the movie’s producers had “declined requests for weapons training days,” and Ms. Gutierrez-Reed said that Mr. Baldwin had failed to attend “cross draw” training, Mr. Baldwin’s filing says that he had inquired about lessons about a month before he showed up on set and that he had training once he had arrived.The demand also claims that Mamie Mitchell, the script supervisor, had told Mr. Baldwin shortly after the fatal shooting, “You realize you’re not responsible for any of what happened in there, don’t you?” Ms. Mitchell is now suing Mr. Baldwin and other producers, blaming him for failing to check whether the gun he was handling was loaded. A lawyer for Ms. Mitchell, Gloria Allred, said in a statement, “Whatever Ms. Mitchell said immediately after the shooting when she was in a state of shock, and whatever Mr. Baldwin said immediately after the shooting, will be testified to at the trial in our civil case.” She said that the filing was “simply one more attempt by Mr. Baldwin to avoid responsibility for what he did.”In the filing, Mr. Baldwin and his lawyer go so far as to publish private text correspondence between Mr. Baldwin and Mr. Hutchins. The texts show Mr. Baldwin checking whether Mr. Hutchins still wanted to continue their conversations given the possible legal sensitivities, and Mr. Hutchins agreeing to continue communicating despite, according to the texts, the likely wishes of his legal advisers and press representative.Mr. Panish, the lawyer for Mr. Hutchins, called the inclusion of personal texts “irrelevant.”“Baldwin’s disclosure of personal texts with Matt Hutchins is irrelevant to his demand for arbitration and fails to demonstrate anything other than Hutchins’ dignity in his engagement with Baldwin,” he said in the statement. “It is shameful that Baldwin claims Hutchins’ actions in filing a wrongful-death lawsuit derailed the completion of ‘Rust.’ The only action that ended the film’s production was Baldwin’s killing of Halyna Hutchins.”The filing notes that Mr. Baldwin spoke at a memorial for Ms. Hutchins and that later Mr. Hutchins had shared a photograph of his son with Mr. Baldwin.Later, Mr. Hutchins filed a lawsuit against Mr. Baldwin, claiming that he had “recklessly shot and killed Halyna Hutchins on the set.” In an interview on NBC’s “Today” show, he said it was “absurd” for Mr. Baldwin to deny responsibility.When the family of Ms. Hutchins, left, filed a wrongful-death lawsuit against Mr. Baldwin, they showed an animated re-creation of their version of the shooting.Chris Pizzello/Associated Press“Before Hutchins’s appearance on the ‘Today’ show, his interactions with Baldwin had only been polite, collaborative, and, at times, even warm,” Mr. Baldwin’s filing said.In the NBC interview, Mr. Hutchins spoke in emotional terms about seeing Mr. Baldwin discuss the shooting on television. “I was just so angry to see him talk about her death so publicly in such a detailed way,” Mr. Hutchins said in the NBC interview, “and then to not accept any responsibility after having just described killing her.”Nicole Sperling contributed reporting. 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      ‘My Cousin Vinny’ at 30: An Unlikely Oscar Winner

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      Much like Vinny in the South, the film was a fish out of water at the Academy Awards. But the comedy endures, thanks to a generous Joe Pesci and a fiery Marisa Tomei.When the culture-clash courtroom comedy “My Cousin Vinny” landed in theaters on March 13, 1992, the critical response was mostly positive. The Times’s Vincent Canby found it “inventive and enjoyable,” The Los Angeles Times’s Peter Rainer called it “often funny” and The Hollywood Reporter deemed it “a terrific variation on the fish-out-of-water/man-from-Mars story formula.”One phrase you won’t find in any of those reviews is “Oscar worthy.” Yet “Vinny” proved just that, landing an Academy Award for best supporting actress a full year after its original theatrical release — one of the biggest upsets in Oscar history, and a trophy that would prove both a blessing and a curse for its recipient, Marisa Tomei.Her performance as Mona Lisa Vito, the long-suffering fiancée and legal secret weapon of Joe Pesci’s title character, was a breakthrough for the Brooklyn-born actress, who had done her time Off Broadway and in the world of soaps and sitcoms. “I was fresh to the business and didn’t know how movies worked,” Tomei explained in 2017, “but Joe chose me for the part, then took me by the hand and guided me immensely, so I got very lucky.”“Vinny” concerns a pair of New York University students who, while driving through Alabama, are falsely accused of murder. They’re so desperate for legal representation that they call upon the only lawyer they can afford: Vincent LaGuardia Gambini (Pesci), a cousin of one of the accused and a novice who has just passed the bar after six attempts.Pesci roars into town in a pink Cadillac convertible at the eleven-and-a-half minute mark; on the DVD audio commentary, the director, Jonathan Lynn, calls this, with characteristically British understatement, “a star entrance.” And that’s an accurate assessment of Pesci’s station — he had just won an Oscar for his menacingly funny work in “Goodfellas,” and “Vinny” was one of his first attempts to leapfrog from supporting player to leading man.But Pesci wasn’t the only star making an entrance; a gum-smacking Tomei scores the first two laughs in the scene, first with her retort to his assertion that she sticks out “like a sore thumb” — “Oh, yeah, you blend” — and then her heartbroken realization, “I bet the Chinese food here is terrible.”Explore the 2022 Academy AwardsThe 94th Academy Awards will be held on March 27 in Los Angeles.A Makeover: On Oscar night, you can expect a refreshed, slimmer telecast and a few new awards. But are all of the tweaks a good thing?Best Actress Race: Who will win? There are cases to be made for and against each contender, and no one has an obvious advantage.A Hit: Ryusuke Hamaguchi’s “Drive My Car” is the season’s unlikely Oscar smash. The director Bong Joon Ho is happy to discuss its success.  Making History: Troy Kotsur, who stars in “CODA” as a fisherman struggling to relate to his daughter, is the first deaf man to earn an Oscar nomination for acting. ‘Improbable Journey’: “Lunana: A Yak in the Classroom” was filmed on a shoestring budget in a remote Himalayan village. In a first for Bhutan, the movie is now an Oscar nominee.It’s noteworthy that Pesci cedes those laughs to her, and continues to do so throughout the picture, playing the George to her Gracie (though she is, clearly, the smarter one). A lesser actor might try to upstage her, but Pesci had been the scene-stealer before, in films like “Raging Bull” and “Easy Money”; he knew how to step back and let his co-stars shine. And this principle of generosity is most pronounced in the courtroom climax, when Vinny puts Mona Lisa on the stand as an automobile expert (she worked in her father’s garage), giving the testimony that exonerates his clients.It’s clear why the commitment-shy Vinny falls in love with Mona Lisa all over again. She charms everyone from judge to jury to onlookers, and, in turn, the moviegoing audience. Credible, fiery, funny and energetic, she and Pesci turn what could’ve been broad caricatures into grounded, empathetic characters.But “My Cousin Vinny” is not what we think of as an “Oscar movie,” and Tomei’s is not what is conventionally considered an “Oscar performance.” Credit where due to 20th Century Fox: When the film was an unexpected commercial success ($52 million on an $11 million budget), the studio spent some of those profits on a “For Your Consideration” campaign, paying off in her nomination for best supporting actress — alongside Judy Davis (“Husbands and Wives”), Joan Plowright (“Enchanted April”), Vanessa Redgrave (“Howards End”) and Miranda Richardson (“Damage”), formidable competition indeed.If the nomination was a surprise, Tomei’s victory over her distinguished competition was a shock. She was a newcomer triumphing over veterans, an American television actress taking on distinguished stage thespians from abroad, and, perhaps most importantly, the only comic performance against a quartet of scorching dramatic turns. And for all of those reasons, when Jack Palance opened the envelope and called Tomei’s name, it sent a shock wave through the Dorothy Chandler Pavilion.Tomei with her Oscar for her performance as Mona Lisa Vito.Barry King/Liaison, via Getty ImagesMaybe the uniformity of Tomei’s competition canceled each other out in her favor. Maybe she had the home court advantage. Or maybe, in a flurry of dramatic performances, the comedic joy of Mona Lisa Vito was a breath of fresh air.Our Reviews of the 10 Best-Picture Oscar NomineesCard 1 of 10“Belfast.” More

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      Watch Robert Pattinson Take Flight in ‘The Batman’

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      The director Matt Reeves narrates a sequence in which Batman flees the police from a rooftop using his batsuit.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.In this scene from “The Batman,” a superhero flies, but it’s mostly by the seat of his pants.Batman (Robert Pattinson) has found himself in an interrogation room after an altercation he was present for turned deadly.Lt. James Gordon (Jeffrey Wright), who has developed a partnership and trust with Batman, secretly helps him flee the scene. But in Matt Reeves’s take on the series, the Caped Crusader doesn’t have a smooth handle on his tech.In his narration, Reeves said that he wanted to present a less polished version of Batman than we’ve seen before.“Rob as Batman is never really in control,” Reeves said. “He’s just barely making it.”Reeves went in this direction with the character to humanize him a bit and make him more relatable. When Batman reaches the ledge in the scene, he’s actually afraid of how high up he is.For the flight tech, Reeves found inspiration in wingsuits, a webbed jumpsuit used in extreme sports like skydiving and BASE jumping to experience more airtime. Some of the shots of the sequence are patterned after YouTube videos Reeves watched of wingsuit moments in all their harrowing, will-they-survive-or-not wonder. And strategic camera placement makes it feel like the audience is taking that harrowing, blundering journey right along with the Batman.Read the “Batman” review.Read an interview with Matt Reeves.Learn more about the ending of “The Batman.”Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More