American Fiction (Movie)

Subterms

    Latest story

    113 Shares159 Views

    How to Watch the Oscars: Date, Time and Streaming

    by

    An earlier airtime and an unusual presenter approach are among the changes at this year’s ceremony.Watching the Oscars doesn’t usually require an instruction manual.But this year, to make sure you catch the goodness of Ryan Gosling performing “I’m Just Ken” — in what we can only hope will be a faux fur coat — there are two crucial steps you must take.One: Be in your preferred watching position — popcorn popped, possibly in a “Dune” bucket, Snuggie on — an hour earlier on Sunday. In a break from the traditional 8 p.m. Eastern, 5 p.m. Pacific start, this year’s ceremony is scheduled to kick off at 7 p.m., an effort by the Academy of Motion Picture Arts and Sciences to stick to prime-time hours.And two: When we say 7 p.m., we mean what-was-until-2-a.m.-on-Sunday 6 p.m., because — that’s right — daylight saving time is here once again. Don’t forget to set your clocks — if you still have clocks — forward an hour.You may have heard that “Oppenheimer,” with a pack-leading 13 nominations, is a lock to win best picture. This is accurate. But even if we’re certain how the night will end, the getting there is the fun part. Here’s everything you need to know.What time does the show start and where can I watch?In a perk for those who like going to bed early, this year’s show begins at 7 p.m. Eastern, 4 p.m. Pacific, at the Dolby Theater in Los Angeles. Sunday is also the start of daylight saving time, so remember to set your clocks an hour forward before you go to bed on Saturday night.On TV, ABC is the official broadcaster. Online, you can watch the show live on the ABC app, which is free to download, or at abc.com, though you’ll need to sign in using the credentials from your cable provider. There are also a number of live TV streaming services that offer access to ABC, including Hulu + Live TV, YouTube TV, AT&T TV and FuboTV, which all require subscriptions.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

    More stories

    • 163 Shares179 Views

      in Movies

      Best Picture Oscar Nominees: Behind the Scenes of ‘Oppenheimer,’ ‘Poor Things’ and More

      by

      In these videos, directors walked us through pivotal scenes from their Academy Award-nominated films.How do you go about crafting the perfect dream ballet? What is the most dynamic way to open your movie? How do you build a dance sequence centered around a character who has never danced before?These were some of the questions that faced the directors of the 10 best picture nominees for the 2024 Academy Awards, which air on Sunday. Below, you’ll hear from first-time feature directors (Celine Song and Cord Jefferson), the most seasoned of veterans (Martin Scorsese) and many others about what it took to get a scene just right.Greta Gerwig on ‘Barbie’Greta Gerwig, the co-writer and director of “Barbie,” narrates this musical sequence, including Ryan Gosling’s performance of the song “I’m Just Ken.”Warner Bros.Christopher Nolan on ‘Oppenheimer’The writer and director Christopher Nolan narrates the opening sequence from the film, starring Cillian Murphy.Melinda Sue Gordon/Universal Pictures, via Associated PressMartin Scorsese on‘Killers of the Flower Moon’The director Martin Scorsese narrates a sequence in which the character Ernest Burkhart, played by Leonardo DiCaprio, is cornered by investigators.Apple TV+Alexander Payne on ‘The Holdovers’Alexander Payne narrates a sequence in which two of the main characters, played by Paul Giamatti and Dominic Sessa, have a tough conversation in a liquor store.Seacia Pavao/Focus FeaturesCord Jefferson on ‘American Fiction’The screenwriter and director Cord Jefferson narrates a scene in which the film’s lead, played by Jeffrey Wright, comes up with an idea for a new novel.Claire Folger/Orion PicturesJustine Triet on ‘Anatomy of a Fall’The director Justine Triet narrates a sequence dissecting an argument between two of the movie’s central characters, played by Sandra Hüller and Samuel Theis.NeonBradley Cooper on ‘Maestro’The director Bradley Cooper narrates a sequence from the film in which he stars alongside Carey Mulligan. The scene involves an argument that takes place on Thanksgiving Day.Jason McDonald/NetflixCeline Song on ‘Past Lives’Two characters, played by Greta Lee and Teo Yoo, reunite after many years in this scene narrated by the writer and director Celine Song.Jon Pack/A24Yorgos Lanthimos on ‘Poor Things’The director Yorgos Lanthimos narrates a sequence from the film in which the characters played by Emma Stone and Mark Ruffalo share a dance.Atsushi Nishijima/Searchlight PicturesJonathan Glazer on‘The Zone of Interest’The director Jonathan Glazer narrates a sequence in this Holocaust drama that takes place in the home of the lead characters.A24 More

    • 63 Shares189 Views

      in Movies

      Jeffrey Wright on ‘American Fiction’

      by

      A couple of years ago, Jeffrey Wright got an email from the screenwriter Cord Jefferson, who was preparing to direct his first film. Jefferson wanted Wright — a cerebral actor known for his commanding, indelible presence even in supporting roles — to star in “American Fiction,” his adaptation of Percival Everett’s mordant 2001 novel, “Erasure.”“In the letter, Cord described how immediate and personal he found ‘Erasure’ to be,” Wright recalled recently. “And he said that he had begun to hear my voice in his head as he read the book. And then he said, ‘I have no Plan B.’”Wright, who is 58, took the job. His exquisitely calibrated performance as the irascible novelist Thelonious Ellison, known as Monk, recently earned him his first Oscar nomination. It is a recognition, among other things, of his ability to elevate any movie or TV show simply by appearing in it. He has a way of burrowing so deeply into his characters that he seems almost to be hiding in plain sight.From the bracing opening scene of “American Fiction,” in which a slur appears on a blackboard as part of the title of a Flannery O’Connor short story Monk is teaching to a class of college students, the film wades into thorny issues of race, authenticity and what white audiences demand from Black artists — and has great satirical fun doing it.“It’s a conversation that’s at the center of the national dialogue right now, but we lack a fluency in how we discuss race — gasp! — and history and language and context and identity,” Wright said. He was being interviewed at the Four Seasons in Manhattan before flying to Britain to receive the London Film Critics’ Circle’s top award.While (obviously) the film doesn’t solve the problems it identifies, he said, at least it’s willing to engage with them.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

    • 113 Shares139 Views

      in Movies

      Jeffrey Wright on His Oscar Nomination for ‘American Fiction’

      by

      Jeffrey Wright had taken precautionary measures as he awaited news of the Oscar nominations for best actor on Tuesday morning in Brooklyn.“I didn’t have screens on beyond my phone, which I kept an eye on,” the “American Fiction” star said. “I was afraid that I might do damage to one of the screens if the news were different. So I just let the phone tell me what had happened and it started to light up and it seemed that the news was good.”Indeed, Wright received his first best actor nomination for his portrayal of Thelonious Ellison, an author whose works no one reads until, in a moment of fury, he composes a story overflowing with Black clichés under a pseudonym, and it becomes a best seller. The performance has already earned him Critics Choice, Golden Globe and Screen Actors Guild nominations.Did he really think he might not hear his name?“One never knows,” he said. Still, “I’m really proud of this film and the work that all of us put into it. We thought while we were making it that we might be onto something good and something interesting and topical, but also buoyant. We thought we might be making a special film, and it seems that audiences who have taken it in have appreciated the story in the ways that we did.”In a video interview, Wright spoke about his character, known as Monk, as a dream role, and why the film’s Oscar nominations — including best picture; adapted screenplay for its director, Cord Jefferson; supporting actor for Sterling K. Brown; and original score for Laura Karpman — matter.Will he do anything special to mark this milestone?“Yeah, I’m going to celebrate by driving my daughter back to college in a few hours,” he said, chuckling. These are edited excerpts from the conversation.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?  More

    • 150 Shares139 Views

      in Movies

      Where to Stream 2024 Oscar-Nominated Movies: ‘Oppenheimer,’ ‘Anatomy of a Fall,’ More

      by

      The nominees for the 96th Academy Awards were announced Tuesday morning and last summer’s “Barbenheimer” phenomenon proved to be a dominant duo once again, with “Oppenheimer” leading the way with 13 nominations and “Barbie” collecting eight. A handful of major awards contenders are still exclusively in theaters, most notably “American Fiction,” “Poor Things” and “The Zone of Interest,” which are all best picture nominees. But the vast majority of titles are currently available to stream or rent on various platforms. Here’s a complete rundown of where to find all the major awards hopefuls.‘Oppenheimer’The writer and director Christopher Nolan narrates the opening sequence from the film.Melinda Sue Gordon/Universal Pictures, via Associated PressNominated for: Best picture, director, actor, supporting actor, supporting actress, adapted screenplay, production design, costume design, cinematography, editing, makeup and hairstyling, sound, original score.How to watch: Rent it on Amazon, Apple TV, Google Play, Vudu and YouTube.Conjuring the dark wizardry of the Manhattan Project, the director Christopher Nolan turned the Trinity test into a seat-rumbling summer spectacle, placing it at the center of “Oppenheimer” like the nuclear core of 20th-century history. But there’s a disturbing intimacy to the film as well, with Cillian Murphy’s tremulous J. Robert Oppenheimer leading an unstable band of scientists while nearly drowning in uncharted political and ethical waters. In exploring the origins of a technological boogeyman that continues to haunt mankind, Nolan embraces the contradictions of the flawed, brilliant man whose spirit seems to embody it.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?  More

    • 125 Shares139 Views

      in Movies

      Oscars 2024 Best Picture Nominations: Everything You Need to Know

      by

      Sure, a whole lot of people saw at least half of the “Barbienheimer” phenomenon this year. Missed some of the other films that scored best picture nominations? Catch up here on all of them: “American Fiction,” “Anatomy of a Fall,” “Barbie,” “The Holdovers,” “Killers of the Flower Moon,” “Maestro,” “Oppenheimer,” “Past Lives,” “Poor Things” and “The Zone of Interest.”‘American Fiction’‘Anatomy of a Fall’‘Barbie’ ‘The Holdovers’‘Killers of the Flower Moon’‘Maestro’‘Oppenheimer’‘Past Lives’‘Poor Things’‘The Zone of Interest’ More

    • 113 Shares129 Views

      in Movies

      ‘American Fiction,’ ‘Origin’ and the Pressures Black Writers Face

      by

      The movies explore what happens when authors who focus exclusively on racism in their work push back against political and commercial stresses.“We younger Negro artists who create now intend to express our individual dark-skinned selves without fear or shame,” a young Langston Hughes proclaimed in an essay nearly 100 years ago. “If white people are pleased we are glad. If they are not, it doesn’t matter.”Seeking to establish his autonomy as a Black writer, he concluded, “If colored people are pleased we are glad. If they are not, their displeasure doesn’t matter either. We build our temples for tomorrow, strong as we know how, and we stand on top of the mountain, free within ourselves.”I thought a lot about Hughes’s landmark 1926 essay, “The Negro Artist and the Racial Mountain,” after watching how Ava DuVernay’s “Origin” and Cord Jefferson’s “American Fiction” explore the fates of Black writers who push back against political and publishing pressures to focus exclusively on racism in their works.Like Hughes, the protagonists of these movies — the journalist Isabel Wilkerson and the novelist Thelonious Ellison, known as Monk — strive to write as they please. But, by depicting their characters’ struggles, the films offer refreshing commentaries on the social construction of race and its devastating consequences for those at the bottom of the hierarchy.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?  More

    • 138 Shares189 Views

      in Movies

      What Will Be Nominated for Oscars Next Week, and What Won’t?

      by

      While “Oppenheimer,” “Barbie” and “Killers of the Flower Moon” are likely to do well, the directors race is hardly set and other categories are open, too.When it comes to predicting the Oscars, you ultimately have to go with your gut … and mine is in a state of agita.That’s what happens when there are simply too many good movies and great performances to all make the cut: Even the hypothetical snubs I’m about to dole out have me tied up in knots.Which names can you expect to hear on Tuesday, when the Oscar nominations are announced? Here is what I project will be nominated in the top six Oscar categories, based on industry chatter, key laurels from the Golden Globes and Critics Choice Awards, and the nominations bestowed by the Screen Actors Guild, Producers Guild of America and Directors Guild of America. Well, all of those things, and my poor, tormented gut.Best PictureLet’s start with the safest bets. “Oppenheimer,” “Barbie” and “Killers of the Flower Moon” scored top nominations from the producers, directors and actors guilds last week and I expect each film to earn double-digit Oscar nominations. “The Holdovers” and “Poor Things” are secure, too: Though they didn’t make it into SAG’s best-ensemble race, both films boast lead actors who’ve won the Golden Globe and Critics Choice Award. If this were an old-school race, these would be the five nominees.But there are five more slots to fill, and I project the next three will go to “Past Lives” and “American Fiction,” passion picks with distinct points of view, as well as “Maestro,” the sort of ambitious biopic that Oscar voters are typically in the tank for. I’m also betting that the French courtroom drama “Anatomy of a Fall” and the German-language Holocaust drama “The Zone of Interest” find favor with the academy’s increasingly international voting body. (Even the Producers Guild, which so often favors big studio movies over global cinema, found room to nominate that pair.)There are still a few dark horses that hope to push their way into this lineup, like “The Color Purple,” “May December,” “Society of the Snow” and “Origin.” But I suspect these 10 are locked and loaded.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?  More

    • 113 Shares149 Views

      in Movies

      With Producers Guild Nominations, the Oscar Picture Gets Clearer

      by

      “Barbie,” “Oppenheimer” and “Killers of the Flower Moon” made the cut as they did for the directors and actors groups. But “The Color Purple” was left out.Rounding out a busy awards-season week that included the Golden Globes and nominations from Hollywood’s directors and actors guilds, the Producers Guild of America announced the 10 films nominated for its best feature award on Friday. As expected, the group included “Oppenheimer” and “Barbie,” twinned box-office behemoths that have so far dominated awards season just as they ruled the summer.Here is the producers’ list of feature-film nominees:“American Fiction”“Anatomy of a Fall”“Barbie”“The Holdovers”“Killers of the Flower Moon”“Maestro”“Oppenheimer”“Past Lives”“Poor Things”“The Zone of Interest”The producers organization is considered the group with the best track record of presaging the Oscars. Over the last five years, only six movies snubbed by the this guild went on to receive an Oscar nomination for best picture.Three of those came just last year, when PGA picks “Black Panther: Wakanda Forever,” “Glass Onion: A Knives Out Mystery” and “The Whale” were supplanted by eventual Oscar nominees “All Quiet on the Western Front,” “Triangle of Sadness” and “Women Talking.” Those substitutions illustrate the difference in sensibilities between the populist-leaning producers and Oscar voters, who are more inclined to support international and independent films.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?  More