Garcia Bernal, Gael

Subterms

    Latest story

    150 Shares99 Views

    In ‘La Máquina,’ Gael García Bernal and Diego Luna Get a Rematch

    by

    Sitting cross-legged on the floor at the Château Marmont in Los Angeles, Gael García Bernal stared with admiration at his lifelong friend and fellow actor Diego Luna. Just the night before, they had walked onstage at the Peacock Theater and, as expected, presented the Emmy for best director of a limited or anthology series or TV movie.Less expected, in a move they said wasn’t preapproved, they had given the award in Spanish.“We were just told that the Emmys are losing a big chunk of its audience,” García Bernal told the crowd and the nearly 7 million live TV viewers. “So me and Diego decided to do something to push the limits, to erase the boundaries.”Luna saluted the United States’ more than 50 million Spanish speakers. Then the award went to Steven Zaillian of “Ripley” — for “mejor dirección” in a limited series.Whatever its provocative qualities — in our interview, García Bernal cited Donald Trump’s divisive immigration rhetoric as motivation — the speech was also a canny bit of promotion. As much of the ensuing coverage noted, the two actors have their own limited series coming on Oct. 9, “La Máquina,” Hulu’s first original Spanish-language production.In “La Máquina,” Luna, left, plays the spray-tanned, plastic-surgery obsessed manager of a boxer played by García Bernal (with Eiza González as the boxer’s ex-wife).Cristian Salvatierra/HuluFriends since they were children in Mexico City, García Bernal, 45, and Luna, 44, are indelibly linked, not least because of their breakout roles in Alfonso Cuarón’s breakout film, “Y Tu Mamá También” (2002), in which they played best pals from different social classes on a life-changing road trip.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

    • 125 Shares169 Views

      in Movies

      ‘Cassandro’ Review: Gael García Bernal as the Luchador Saúl Armendáriz

      by

      Gael García Bernal plays a flamboyant figure taking the world of Mexican professional wrestling by storm in this underdog drama directed by Roger Ross Williams.When Barton Fink, the neurotic screenwriter cooked up by the Coen brothers, scrambles to write a wrestling picture, his peers prescribe the basics. Tell us the man’s ambitions. Entangle him in a romance. You know the drill. Not even in Barton’s most delirious dreams could he have envisioned “Cassandro,” about a flamboyant, sequin-clad luchador who takes his ring name from a telenovela. But I bet Barton could have drafted the film’s outline, which uses the same squelchy gym bag of tricks as many underdog sports dramas.Based on a real star of Mexican professional wrestling, or lucha libre, Saúl Armendáriz (Gael García Bernal) is a profoundly unusual athlete wedged into a biopic that sometimes feels like passable stage fighting: elegantly executed but drained of danger.Directed by Roger Ross Williams (“Life, Animated”), the movie depicts the decisive, late-1980s period when Saúl ascended out of obscurity and into the big time, braving countless training montages and a few private miseries on his way to the top.We meet the striver in Texas in early adulthood, when he is assisting his mother, Yocasta (Perla De La Rosa), with her laundry business and wrestling at a nearby club. Using the name El Topo (The Mole), he tumbles into the ring masked and petite, a pipsqueak doomed to act as a punching bag opposite giants. “Let me guess. You’re always cast as the runt?” challenges Sabrina (Roberta Colindrez), a local lucha hotshot and trainer. She spies potential in Saúl, and offers to coach him pro bono.Colindrez, like many of the actors in this movie, is a superlative performer. Her character is granted little interiority — she serves by turns as Saúl’s fierce advocate and his shoulder to cry on — but alongside Bernal she radiates a cool glow fit for a film less shackled by the ebbs and flows of established convention. In conversations with Sabrina, Saúl toggles between English and Spanish, reserving the latter for colloquialisms or teasing, and the mixture gives their dialogue an organic rhythm. He uses the same blend of languages with his lover, Gerardo (Raúl Castillo), a married luchador with kids whom Saúl sees in secret.Saúl’s sexuality is at once a major plot point and somewhat underexplored. With gentle nudging from Sabrina, Saúl, who came out as a teen and is supported by his mother, soon reinvents his ring persona as the campy Cassandro, an “exótico,” or luchador who plays with femininity. The character initially attracts slurs and heckling, but quickly (and perhaps too effortlessly) starts winning matches and becomes a fan favorite. This is an era when H.I.V. and AIDS panic was at its shrillest, and although the real-life Cassandro was sometimes rebuffed by homophobic opponents, the movie never mentions the epidemic. (Williams wrote the screenplay with David Teague.)“Cassandro” is at its strongest when it zeros in on the relationship between Saúl and Gerardo, who share a physical intimacy that both echoes their fighting careers and acts as an escape from them. Alone, safe from onlookers, the pair tussle in bed. “Don’t you think he’s sexy?” Saúl says, referring to Cassandro as if he were a third person who might join them.Williams, an Oscar-winning documentary filmmaker, is an expert orchestrator of naturalism. The trouble is that lucha libre, built on glitz, is anything but naturalistic. The self-assured freedom Saúl channels in bed never makes its way into scenes in the ring, which tend to tire when they should dazzle.CassandroRated R for drugs and slugs. Running time: 1 hour 47 minutes. Watch on Amazon Prime Video. More

    • 113 Shares179 Views

      in Movies

      Which Sundance Movies Could Follow ‘CODA’ to the Oscars?

      by

      Jonathan Majors in “Magazine Dreams” and Teyana Taylor in “A Thousand and One,” among others, could make the journey from Park City to the Dolby Theater.Over the past few decades, the Sundance Film Festival has premiered Oscar winners like “Manchester by the Sea,” “Call Me by Your Name” and “Minari,” but it wasn’t until last March — when the crowd-pleasing “CODA” won best picture — that a Sundance movie went the distance and claimed the top Academy Award.It may be a little while before Sundance pulls off that feat again, as the Oscar nominations announced last week featured no movies from the festival in the best-picture race; indeed, the only 2022 Sundance film to make a dent in the top six Oscar categories was the British drama “Living,” which earned a best-actor nod for Bill Nighy. But could the movies that just premiered at the 2023 edition of the festival, which concluded on Sunday, help recover some of Sundance’s award-season mojo?The program certainly offered a fair amount of best-actor contenders who could follow in Nighy’s footsteps. Foremost among them is Jonathan Majors. The up-and-coming actor already has a crowded 2023: He’ll soon be seen facing off against Michael B. Jordan in “Creed III” and playing the supervillain Kang in Marvel properties like “Ant-Man and the Wasp: Quantumania” and “Loki.” And that slate just got even stronger with the Sundance premiere of “Magazine Dreams,” a troubled-loner drama in which Majors plays an amateur bodybuilder on the brink of snapping. Had the film been released a few months ago, Majors would have made this year’s thin best-actor lineup for sure, but the right studio buyer could take advantage of his newfound Marvel momentum to muscle this formidable performance into the next race.The Projectionist Chronicles the Awards SeasonThe Oscars aren’t until March, but the campaigns have begun. Kyle Buchanan is covering the films, personalities and events along the way.Meet the Newer, Bolder Michelle Williams: Why she made the surprising choice to skip the supporting actress category and run for best actress.Best-Actress Battle Royal: A banner crop of leading ladies like Michelle Yeoh and Cate Blanchett rule the Oscars’ deepest and most dynamic race.‘Glass Onion’ and Rian Johnson: The director explains why he sold the “Knives Out” franchise to Netflix, and how he feels about its theatrical test.A Supporting-Actress Underdog: In “Everything Everywhere All at Once,” don’t discount the pivotal presence of Stephanie Hsu.Other best-actor candidates that could come from the current Sundance crop include Gael Garcia Bernal, who could earn his first nomination for playing a gay luchador in the appealing “Cassandro,” and David Strathairn, who toplines the modest, humane “A Little Prayer,” about a father deciding whether to meddle in his son’s extramarital affair. One point in Strathairn’s favor is that his film will be released by Sony Pictures Classics, which has managed to land a well-liked veteran in the best-actor lineup three of the last four years (Nighy for “Living,” Anthony Hopkins for “The Father” and Antonio Banderas for “Pain and Glory”).The top Sundance jury prize went to A.V. Rockwell’s “A Thousand and One,” which could earn best-actress attention for Teyana Taylor, who plays a defiant ex-con resorting to desperate measures to keep custody of her son. (Still, the film’s planned March release from Focus Features will require some end-of-year reminders for forgetful voters.) Also buzzed about was Greta Lee, who could be in contention for A24’s “Past Lives,” about a Korean American woman reunited with her former lover; the film was so rapturously received that a best-picture push could be in the cards.Will any of the year’s biggest-selling films crash the Oscars race? Netflix spent $20 million to acquire the well-reviewed “Fair Play,” which pits the “Bridgerton” star Phoebe Dynevor against the “Solo: A Star Wars Story” actor Alden Ehrenreich as co-workers whose affair curdles once she gets promoted. It’s not the kind of starry auteur project that usually gets a big end-of-the-year campaign from Netflix, but if this battle of the sexes becomes a zeitgeisty hit, the streamer may give it a shot. Apple TV+ paid $20 million for the musical comedy “Flora and Son,” from the “Once” director John Carney, while Searchlight shelled out more than $7 million for the Ben Platt vehicle “Theater Camp.” At the very least, these two comedies feature delightful original-song contenders.Sundance films could make the biggest splash is in the best-documentary race: All but one of this year’s Oscar-nominated documentaries first debuted at the January festival, and even if you stripped Sundance of its star-driven narrative films, the strength of its docs would still preserve its status as a top-tier world festival.This year, the most-talked-about docs were the award winners “Going to Mars: The Nikki Giovanni Project,” about a storied Black poet; the Alzheimer’s drama “The Eternal Memory”; “Beyond Utopia,” which features compelling hidden-camera footage of North Koreans trying to defect; and “20 Days in Mariupol,” about the Russian siege of a Ukrainian port city. More

    • 150 Shares179 Views

      in Movies

      ‘Old’ Review: They Say Sun Can Age You, but This Is Ridiculous

      by

      A half-hour at the beach costs vacationers a year in this disquieting new horror puzzler, written and directed by M. Night Shyamalan.In the opening pages of “Dino,” a 1992 biography of Dean Martin by Nick Tosches, the author cites a haunting Italian phrase: “La vecchiaia è carogna.” “Old age is carrion.”When some vacationing families are deposited on a secluded beach recommended to them by a smarmy resort manager in “Old,” the new movie written and directed by M. Night Shyamalan, we see a trio of vultures atop a tree take to the sky.Not long after that, unusual things begin happening. The young children of Guy and Prisca (Gael García Bernal and Vicky Krieps, both superb, as is the entire cast) feel their bathing suits tightening. An epileptic psychologist (Nikki Amuka-Bird) unexpectedly finds herself without symptoms. The elderly mother of the trophy wife of a tetchy physician just up and dies. A moderately famous rap star (Aaron Pierre), who had come to the beach some hours before, wanders around befuddled, with an incurable nosebleed. The corpse of his female companion is discovered in the water, prompting the physician (Rufus Sewell) to accuse the rapper of murder.In time — not too much time, because, as it happens, it is of the essence in this situation — the beachgoers figure out that they are aging at an accelerated rate. One half-hour equals about a year.And the beach that is aging them won’t let them leave.Some vacation. Shyamalan adapted his disquieting tale from the graphic novel “Sandcastle,” by the French writer Pierre Oscar Lévy and the Swiss illustrator Frederik Peeters. As is frequently the case with French-produced bandes dessinées, “Sandcastle” is a stark existentialist parable. (It is perhaps no coincidence that the book Krieps’s character attempts to read on the beach is a dual biography of Jean-Paul Sartre and Simone de Beauvoir.) Shyamalan expands on the book in the way one would expect an American filmmaker to — among other things, eventually offering a sort-of explanation that the source material doesn’t.Being PG-13, “Old” does not dwell, as the graphic novel does, on how rapid aging affects the children of this ensemble in the hormonal department once they hit their teens, although one pregnancy does occur during the victims’ shared life-in-a-day. Instead, the movie buckles down on the considerable anxiety and dread felt, and amplified, by the frequently bickering adults. Because time is accelerated here, wounds heal incredibly quickly. The director exploits this for a couple of weirdly harrowing knife fights and an impromptu surgery scene. The horrific potential of bones breaking, then instantly resetting themselves incorrectly, does not go unnoticed.Shyamalan’s fluid filmmaking style, outstanding features of which are an almost ever-mobile camera and a bag of focus tricks, serves him especially well here. Sometimes the camera will pan back and forth in a ticktock pendulum fashion (get it?) and return to its starting point to reveal a terrifying change. The way he switches out his actors as their characters age is seamless. (The filmmaker’s work in the verbal department is not so felicitous. He names Pierre’s rap star “Mid-Sized Sedan”; early on one character complains to another, “You’re always thinking about the future, and it makes me feel not seen.”)If old age is carrion, it’s also, as a “Citizen Kane” character put it, the one disease you don’t look forward to curing, which provides the impetus for the movie’s finale. While Shyamalan is often cited for his tricky endings, it’s arguable that he doesn’t quite stick the landing with this one. He adds to the story a dollop of that much-venerated Hollywood commodity, hope, and also doles out some anti-science propaganda that couldn’t be more unwelcome at this particular time in the real world.OldRated PG-13 for horrific imagery, language and aging. Running time: 1 hour 48 minutes. In theaters. More