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      How to Watch the SAG Awards

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      In a wide-open best picture race, the awards, which are streaming on Netflix, could offer some clarity.This year’s Oscars best picture race is, for the first time in years, wide open.Will the newly ascendant front-runner “Anora,” Sean Baker’s Palme d’Or winner about a stripper who impulsively marries the son of a Russian oligarch, take the statuette? Will Brady Corbet’s epic “The Brutalist” find its way to the top? And what about the wild card, the papal thriller “Conclave,” which recently took top honors at the EE British Academy Film Awards, or BAFTAs — Britain’s version of the Oscars?With the days ticking down until the March 2 Academy Awards ceremony, the Screen Actors Guild Awards could offer some clarity. In four of the past five years, the SAGs have given their top honor — best ensemble — to the eventual Oscar winner.The 15 awards, which are voted on by actors and other performers who belong to the SAG-AFTRA union, honor the best film and television performances from the past year. The movie musical “Wicked” and the FX series “Shogun” are the leading nominees.Here’s how to watch, and what to watch for.What time does the show start, and where can I watch?The two-hour ceremony begins at 8 p.m. Eastern time (5 p.m. Pacific time) at the Shrine Auditorium in Los Angeles, a historic venue that has also hosted the Oscars. For the second year, the awards show will stream live and exclusively on Netflix; there is no way to watch without a subscription.Is there a red carpet?The red carpet preshow will stream live on Netflix beginning at 7 p.m. Eastern time (4 p.m. Pacific time). The YouTube star Lilly Singh and the actress and former “Saturday Night Live” comedian Sasheer Zamata will host the event, which will include interviews with nominees and the announcement of the winners in the best stunt ensemble categories.Who is hosting?Kristen Bell, who recently starred in the Netflix rom-com “Nobody Wants This,” will steer the ship. This will be her second time hosting; the first was in 2018.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Carlos Diegues, Filmmaker Who Celebrated Brazil’s Diversity, Dies at 84

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      Seeking to shed the gauzy influence of Hollywood and focus on Brazil’s ethnic richness and troubled history, he helped forge a new path for his country’s cinema.Carlos Diegues, a film director who celebrated Brazil’s ethnic richness and its social turbulence, helping to forge a new path for cinema in his country, died on Feb. 14 in Rio de Janeiro. He was 84.His death, in a hospital, was announced by the Brazilian Academy of Letters, of which he was a member. The academy said the cause was complications of surgery. The Rio newspaper O Globo, for which Mr. Diegues wrote a column, reported that he had suffered “cardiocirculatory complications” before the surgery.Mr. Diegues, who was known as Cacá, was a founder of Cinema Novo, the modern school of Brazilian cinema that combined Italian Neo-Realism, documentary style and uniquely Latin American fantasy. He focused on hitherto marginal groups — Afro-Brazilians, the poor, disoriented provincials in an urbanizing Brazil — and was the first Brazilian director to employ Black actors as protagonists, in “Ganga Zumba,” (1963), a narrative of enslavement and revolt that was an early cinematic foray into Brazil’s history of racial violence.The often lyrical results, expressed over the course of 60 years in dozens of features and documentaries, charmed audiences in his own country and abroad, though critics sometimes reproached him for loose screenplays and rough-edged camera work.José Wilker, left, and Principe Nabor in “Bye Bye Brazil” (1979). Mr. Diegues’s international breakthrough, it was nominated for a Palme d’Or at Cannes.Ademir Silva/LC Barreto Productions, via New Yorker FilmsMr. Diegues’s international breakthrough film, “Bye Bye Brazil” (1979), nominated for a Palme d’Or at Cannes, is considered the apotheosis of his dramatic visual style and of his preoccupation with those on the margins of Brazilian society. It follows a feckless group of rascally street performers through the outback, documenting a vanishing Brazil where citizens in remote towns are beguiled by fake falling snowflakes — actually shredded coconut — and hypnotized, literally, by a rare communal television set.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      At the Berlin Film Festival, Anxious Movies for Dark Times

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      At the Berlin International Film Festival, the onscreen mood was downbeat, but the program still held some gems.The skies are typically gray and gloomy at the Berlin International Film Festival, but this year’s edition, which runs through Sunday, began with snow for days. The wintry weather gave the event — known as the Berlinale — a magical glow at first, but it wasn’t enough to keep the demons at bay. Looming over the festival were anxieties over the conflicts in Gaza and Ukraine, as well as the upcoming German elections. The films also radiated an air of shame, despair and powerlessness, asking: How to trust ourselves to make the world better when we’ve already screwed up so spectacularly?Tom Tykwer’s visually dazzling, but comically misguided liberal drama, “The Light,” opened the event last week, submitting festivalgoers to 162 minutes of angst and attrition (and one too many “Bohemian Rhapsody” needle drops) about a German family spiritually cleansed by their Syrian housekeeper.For many of us on the ground, however, the first real epic-of-interest was the “Parasite” director Bong Joon Ho’s science-fiction caper “Mickey 17” — a film that induces nervous laughter about society’s abysmal moral standards. In this high-concept action movie with a zany dark heart, labor exploitation hits a new low when workers, or at least their physical forms, become literally disposable. Robert Pattinson stars as one such “expendable,” a dopey spaceman whose co-workers treat him like a lab-rat, knowing that his body can be reprinted.A scene from “Mickey 17.”BerlinaleBong’s bids at timeliness are staler than usual. (Mark Ruffalo plays a grandstanding demagogue whose followers wear red caps.) But the film’s dull political edge doesn’t diminish the joy ride’s momentum, nor the flashes of genuine weirdness that keep us guessing. If, god willing, superhero movies are destined to go the way of the dodo, “Mickey 17” is a reminder that directors like Bong keep the dream of the blockbuster alive.President Trump’s ramped-up campaign of mass deportations infiltrated my viewing of Michel Franco’s “Dreams,” a competition entry that filled me with much ambivalence, but also moved and infuriated me. This intentionally provocative psychodrama by one of Mexico’s most divisive directors sees Jessica Chastain as a tightly wound philanthropist from San Francisco who has a tempestuous relationship with an undocumented ballet dancer from Mexico — whom we first see, like the survivor at the end of a brutal horror film, emerging from a van full of smuggled migrants.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Watch Austin Butler in Battle in ‘Dune: Part Two’

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      The director Denis Villeneuve narrates a sequence from his film, which is nominated for five Academy Awards, including best picture.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.Denis Villeneuve’s “Dune: Part Two,” much like the first film, is loaded with ambitious sequences. But one of the stark visual standouts is this battle scene in the Harkonnen arena, where Feyd-Rautha (Austin Butler), for his birthday celebration, is pitted against a group of enslaved men.The sequence is rendered in heightened black andwhite. Narrating the scene, Villeneuve said he wanted to create a specific kind of atmosphere for the planet Giedi Prime, in which the Harkonnen have destroyed a lot of their natural resources. He said, “As my cinematographer, Greig Fraser, and I were brainstorming together how to bring an alien sunlight that would be black and white to the screen, Greig had the idea to test infrared.”The filmmaker said that infrared is usually blocked from cameras because it is considered noise. But in this case, they “modified the cameras to let only that wavelength come through.” The result is the atmosphere Villeneuve said he was dreaming of, one in which “we see almost through skin. The eyes become piercing like insects.”Read the “Dune: Part Two” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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      Five Free Movies to Stream Now

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      Don’t overlook ad-supported platforms like Tubi, Plex and PlutoTV. They’re surprising repositories for great films like “Gunda” and “Farha.”Maybe Big Tech hasn’t delivered on its disruptive promise for movies after all: We’ve cut our cable cords for price and convenience only to pay just as much (if not more) to jump through hoops and across platforms, with diminishing returns in quality.But there’s always good work being made. This new column, then, is not about free stuff, but about discovery. It’s a curation of good and great films on free, ad-supported platforms like Tubi, Plex and Pluto TV that often fall through the cracks of our numbingly plentiful, overly content-ified entertainment complexes.This inaugural column’s picks take us from a small farm to a cramped Japanese apartment, from a restaurant kitchen to an urgent historical record of memory. These are movies that you can watch, contend with and ponder for free.‘Gunda’ (2020)Stream it on Tubi.An undersung trend in recent movies is the artful animal picture, from “EO” (about a donkey) to “First Cow” (a cow) to “Cow” (you get it). “Gunda” is perhaps the simplest and quietest of them all, but somehow contains a stirring, stealthily profound inquiry into human and animal nature.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘We Beat the Dream Team’ Puts a Twist on the Sports Movie Formula

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      This film tells the story of the college players who defeated the 1992 U.S. men’s basketball team, filled with N.B.A. All-Stars, during a scrimmage before the Olympics.Whether documentary or fiction, the sports movie template is so well-worn — we were underdogs, then we won, and it was amazing — that it’s rare to execute a new twist on the formula. And in some ways, “We Beat the Dream Team” (streaming on Max), directed by Michael Tolajian, follows that recipe. Its title suggests the ultimate underdog story: In June 1992, a group of elite college basketball players was recruited to scrimmage the United States men’s basketball team before the Barcelona Olympics. But on the first day, kind of by accident, the underdogs beat the so-called Dream Team.It was the first year that pro basketball players were permitted to compete at the Olympics, and so that team consisted of a murderer’s row of N.B.A. players: Larry Bird, Magic Johnson, Charles Barkley, Scottie Pippen, John Stockton, David Robinson, Patrick Ewing, Karl Malone, Chris Mullin, Clyde Drexler and, of course, Michael Jordan. One solitary college player, Christian Laettner, joined them.“We Beat the Dream Team” focuses on the story told by the other guys. They’re the college students who — as several of them point out repeatedly during the film — would have been the Olympic team, if the eligibility rules hadn’t changed. Instead, as then-college player Grant Hill says, “We were the crash test dummies.” Arriving at the training facility feeling both salty and star-struck, they were ready to hit the court and aware they were specifically there to lose.To tell the story, Tolajian assembled those players, many of whom (including Hill, Chris Webber, Allan Houston and Penny Hardaway) had their own starry N.B.A. careers since that summer over 30 years ago. They are visibly full of fire as they recall the moment. Interviews with the players and coaches are mixed with archival footage from the games to give you the sense of the proceedings, focusing on the day that the younger guys beat their heroes on the court — and what happened next.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Like Us, Theo James Is Freaked Out by the Toy in ‘The Monkey’

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      In the warped new horror-comedy “The Monkey” (in theaters), Theo James plays Hal and Bill, estranged twin brothers who are besieged by a possessed music-making monkey toy they got under gruesome circumstances when they were boys. Once that little monkey starts a tinny rat-tat-tat on his drum, nobody’s safe.Based on a Stephen King short story, the gory film is the latest project from the writer-director Osgood Perkins, whose macabre filmography includes last year’s “Longlegs.”Earlier this month during a video interview, James said that the toy, which looks like a maniac and is known among collectors as a Jolly Chimp, was one of his frequent scene partners. Distancing himself from the chimp’s unnerving stare was a tough order.“It was creepy enough to the point where, with some of my daughter’s toys in her room, I’m like, is that thing looking at me?” James said, with an uneasy smile that suggested he wasn’t entirely joking.Theo James in “The Monkey.”NeonIf his literally-a-model looks are familiar, it may be because he has appeared across acting disciplines: the “Divergent” films; the second season of “The White Lotus” on HBO; the London stage. Down the road are roles in “The Hole,” a film from the director Kim Jee-Woon — “Misery” meets “Parasite” is how James described it — and the second season of “The Gentlemen,” Guy Ritchie’s Netflix series.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More