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    15 Looks That Did the Most at Coachella

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    There was no shortage of celebrities onstage last weekend at the first installment of this year’s Coachella Valley Music and Arts Festival in Southern California, where Doja Cat, Billie Eilish and even Will Smith performed.Ms. Eilish surprised spectators by joining Lana del Rey for the folk-rock singer’s first Coachella set since 2014. Mr. Smith, who started his career as a rapper, also shocked many in the audience by performing a rendition of his song “Men in Black” with dancers dressed as aliens during the reggaeton singer J Balvin’s set.But some of the highest-profile performers at the festival weren’t there to work: Rihanna and ASAP Rocky, along with Taylor Swift and Travis Kelce, came as spectators, even if neither couple could exactly blend in with the crowd.At Coachella — an orgy of brand activations, parties and musical performances — celebrities are but one reliable component. Another is fashion, which typically tends toward the ostentatious. That was mostly the case last weekend, during which these 15 looks stood out — some for being opulent, others for being over-the-top and a couple for being surprisingly simple.Doja Cat: Most Harebrained!Hair with boots to match.Valerie Macon/Agence France-Presse — Getty ImagesOf the many outfits worn by the singer and rapper during her set, this get-up involving few clothes and strategically arranged extensions might have stolen the show — if only by a hair.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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      Cillian Murphy, Barry Keoghan, and Paul Mescal Spark a Thirst for the Irish

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      Barry Keoghan, Paul Mescal and Cillian Murphy are among a crop of Irish hunks who have infused popular culture with big Irish energy.Sabrina Carpenter may already be dating an Irish hunk: The actress and singer attended the Vanity Fair Oscars party with the Irish actor Barry Keoghan last Sunday, adding fuel to rumors of their romantic involvement.But any feelings Ms. Carpenter may have for Mr. Keoghan did not stop her from saying she had eyes for Cillian Murphy, another Irishman, in an interview with Vanity Fair filmed before the party. Ms. Carpenter joked that if she saw Mr. Murphy at the event, she would leave with him.After a video of the interview was shared on Instagram, Mr. Keoghan left a comment. It had no words, only two emojis: a person with a hand raised and a shamrock. Another user commented, “She has a thing for the Irish just like me.”Mr. Keoghan, 31, and Mr. Murphy, 47, along with Paul Mescal, 28, and Andrew Scott, 47, have recently infused popular culture with big Irish energy by starring in the films “Saltburn,” “Oppenheimer” and “All of Us Strangers.” As a result, those actors have ushered in a moment for Irish crushes.The film “All of Us Strangers” featured a double dose of Irish hunks: specifically, Paul Mescal, left, and Andrew Scott.Ryan Pfluger for The New York TimesSome of them seem to have leaned into their reputation. Mr. Keoghan appeared on a version of the cover of Vanity Fair’s Hollywood issue butt naked. His body was only slightly more clothed in a Valentine’s Day campaign by the dating app Bumble; those images, when shared on social media, had some people drooling in the comments.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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      Inside the 2024 Vanity Fair Oscars Party

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      “This is made of success — not everyone can have it,” the actress and comedian Tiffany Haddish said Sunday night, as she held the train on her dress and danced her way through the crowd inside the Wallis Annenberg Center for the Performing Arts in Beverly Hills.At around 11 p.m., hundreds of people were smiling and nodding and bobbing and weaving their way across a red carpet that snaked its way from Santa Monica Boulevard through the main room of a customized event space where Vanity Fair’s annual post-Oscars party was taking place.Barry Keoghan, the star of “Saltburn,” stood near the center bar. Lauren Sanchez, the fiancée of the Amazon founder Jeff Bezos, was in front of him, shimmying away to Chic’s “I Want Your Love,” in her reddish, partially see-through chiffon dress.Never mind that people had been tripping on her train all evening long.“I don’t mind,” she said. “It just bounces right back up.”Ice Spice and Tracee Ellis Ross; Paul Giamatti and Brendan Fraser; Eva Longoria and Kim Kardashian; Serena Williams.Nina Westervelt for The New York TimesThe Vanity Fair party started in 1994 at Morton’s, a celebrity hangout on the corner of Robertson and Melrose. The first few years, only the most famous and connected people in Hollywood were invited.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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      What Songs Would ‘Saltburn’ Characters Have Spun in 2007?

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      The soundtrack to Emerald Fennell’s movie has been a talker. Hear tracks by M.I.A., Girl Talk, Nelly Furtado and others that would have been a good fit.“Saltburn” has catapulted the 2001 song “Murder on the Dancefloor” back to the charts, but there’s a lot more to discuss about the film’s soundtrack.Chiabella James/Amazon StudiosDear listeners,Over the weekend, I finally watched “Saltburn,” the provocative, polarizing and occasionally downright icky coming-of-age thriller that no one can stop talking about right now.The movie, written and directed by the “Promising Young Woman” filmmaker Emerald Fennell and starring the current It Boys Barry Keoghan and Jacob Elordi, charts the fates of two unlikely friends who meet at Oxford and later spend a debauched summer at the titular estate where the (much) wealthier of the two boys lives with his aristocratic family.“Saltburn” plays out like a diabolically dark, millennial take on “Brideshead Revisited.” And the operative word there is millennial, since the 38-year-old Fennell delights in planting innumerable period-specific details — including an evocative soundtrack — that remind viewers that these boys belong to the Class of 2006.The soundtrack has elicited such potent nostalgia that it has catapulted Sophie Ellis-Bextor’s 2001 neo-disco hit, “Murder on the Dancefloor,” used in a crucial scene, back into the Top 10 on the British charts. This week, the song cracked the Billboard Hot 100 for the first time.Fennell has confirmed that most of the movie takes place in summer 2007, and ever since, armchair script supervisors on social media have made a sport out of pointing out the film’s most chronologically questionable cultural references. (For example: Some of the characters are watching a DVD of “Superbad,” which was still only out in theaters that summer.)The most egregious music cue is a karaoke scene featuring Flo Rida’s party anthem “Low,” which was released in October 2007 and didn’t become a global smash until early 2008. Eagle-eared listeners have also pointed out that an Arcade Fire song released in mid-2007 plays in a pub scene meant to take place near the beginning of the 2006 school year, and that MGMT’s “Time to Pretend,” the song that’s the soundtrack to a languid summer 2007 montage, appeared on an album that didn’t come out until that fall. (The movie’s music supervisor has responded, “It’s as close as possible, really, just to put you back in that space. If it had been a couple of years later, that would have been an absolute no.”)Still, ever since watching the movie, I’ve become obsessed with these quibbles and consumed with one question: What would the characters in “Saltburn” have actually been listening to in summer 2007? Today’s playlist is my attempt to answer that.I am not a professional music supervisor, nor am I member of the king’s nobility — I’m not even British. But I do have credentials that make me exceptionally qualified to create this particular playlist: In the summer of 2007, I was a rising junior in college with a nearly full 160GB iPod.I consulted a number of primary sources, including a playlist on said iPod that I actually created at the end of the year “Saltburn” takes place (titled, with undergraduate melodrama and for reasons I now truly do not recall, “2007 Was a Bad Year”). It features a few artists whose music does appear in “Saltburn” (MGMT, Bloc Party) and quite a few whose songs do not, but whose sounds I think would have potently conjured the era (M.I.A., Hot Chip, that auteur of the aughts sound Timbaland). It is probably not as quintessentially British as the film’s actual soundtrack, but alas, I did not go to uni, I went to “college.”As you can probably already tell, I had way too much fun putting this playlist together. You may call this sound “indie sleaze,” but I just call it my early 20s.Listen along on Spotify while you read.1. MGMT: “Time to Pretend”Hilariously, or perhaps just fittingly, the first song on my actual 2007 iPod playlist is a song that was prominently featured in “Saltburn.” Few albums were debated as hotly around my college radio station office that year as MGMT’s glam-pop debut, “Oracular Spectacular.” While it technically wasn’t released until Oct. 2, this song is such a perfect, montage-ready encapsulation of that era’s sound that I will permit Fennell a little poetic license with this one. (Listen on YouTube)2. Spoon: “Don’t You Evah”Another one from my 2007 iPod playlist, from another album I played a lot that summer: Spoon’s effortlessly tuneful sixth album, “Ga Ga Ga Ga Ga.” I can picture the elegantly wasted denizens of Saltburn vibing to this bass line. (Listen on YouTube)3. Johnny Boy: “You Are the Generation That Bought More Shoes and You Get What You Deserve”Any 2007 playlist worth its salt had to have at least one semi-obscure, critically adored indie-pop track downloaded from a music blog. This 2006 should-have-been-smash from the short-lived British duo Johnny Boy checks that box, with flair. (Listen on YouTube)4. M.I.A.: “Boyz”It was also the summer of “Kala,” M.I.A.’s bold, blown-out sophomore album, which I think still stands as her greatest achievement. Though “Kala” was not released until early August, this exuberant single came out in June, setting the season’s tone. (Listen on YouTube)5. Hot Chip: “Boy From School”I actually cannot believe this song was not used in “Saltburn”: The title says it all! Though released in 2006, the British electro-pop group Hot Chip’s moody dance floor anthem would still have been getting plenty of play the following summer, especially in Britain, where it peaked at No. 40 on the singles chart. (Listen on YouTube)6. Justin Timberlake featuring Timbaland: “SexyBack”Another 2006 banger that would have still been ubiquitous the following summer, the Timbaland-produced “SexyBack” was released at the height of Justin Timberlake’s commercial popularity and his poptimist-approved hipster cred. (Listen on YouTube)7. Chamillionaire featuring Krayzie Bone: “Ridin’”This is the song I would have put in place of “Low”: another instantly recognizable, era-defining hip-hop track, but one that would have by then been out for long enough that an out-of-touch bloke could have credibly mangled it at karaoke. (Listen on YouTube)8. Nelly Furtado: “Maneater”It was simply not a party in the summer of 2007 until someone put on “Maneater,” the sublime and slightly hipper alternative to Furtado’s other 2006 single about a lascivious woman. (Listen on YouTube)9. Bloc Party: “Banquet”Of course there was song from the post-punk revivalists Bloc Party’s 2005 debut, “Silent Alarm,” in “Saltburn”; I just would have chose this more propulsive and admittedly on-the-nose selection instead of “This Modern Love.” (Listen on YouTube)10. Girl Talk: “Bounce That”And finally, nothing said “college party in the mid-to-late-aughts” like a cut from Girl Talk’s 2006 hyperactive mash-up opus, “Night Ripper” — or maybe just someone stealing the aux cord and playing the entire album from start to finish. (Listen on YouTube)Take ’em to the chorus,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“2007: The Summer of ‘Saltburn’” track listTrack 1: MGMT, “Time to Pretend”Track 2: Spoon, “Don’t You Evah”Track 3: Johnny Boy, “You Are the Generation That Bought More Shoes and You Get What You Deserve”Track 4: M.I.A., “Boyz”Track 5: Hot Chip, “Boy From School”Track 6: Justin Timberlake featuring Timbaland, “SexyBack”Track 7: Chamillionaire featuring Krayzie Bone, “Ridin’”Track 8: Nelly Furtado, “Maneater”Track 9: Bloc Party, “Banquet”Track 10: Girl Talk, “Bounce That”Bonus TracksAfter I featured the British musician and poet Labi Siffre in Friday’s newsletter, a Times editor sent me a link to Siffre’s exquisitely funky 1975 song “I Got The …” — which is prominently sampled in Eminem’s star-making 1999 single, “My Name Is.” I admit that this kind of blew my mind. It also led me to two fascinating facts I’d like to share with you.First, that Beck and his producers the Dust Brothers were planning to sample “I Got The …” on a single from the 1999 album “Midnite Vultures,” but Eminem beat him to it. (What could have been!) Also, even more impressively, Siffre refused to clear the Eminem sample for the producer Dr. Dre until they removed all lyrics that Siffre had deemed homophobic. “Diss the bigots not their victims,” Siffre said years later in an interview. “I denied sample rights till that lazy writing was removed.” If only every Eminem song had undergone the Labi Siffre test! More

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      ‘Saltburn Review’: Lust, Envy and Toxic Elitism

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      In the new film from Emerald Fennell, Barry Keoghan plays an Oxford student drawn into a world of lust and envy at a classmate’s estate.“Saltburn” is the sort of embarrassment you’ll put up with for 75 minutes. But not for 127. It’s too desperate, too confused, too pleased with its petty shocks to rile anything you’d recognize as genuine excitement. This thing was written and directed by Emerald Fennell, whose previous movie was “Promising Young Woman,” a horror flick about rape that was also a revenge comedy. So believe me: She wants you riled. Fennell’s seen the erotic thrillers, studied her Hitchcock and possibly read her Patricia Highsmith, and gets that if you name your main character Oliver Quick he’s obligated to do something at least arguably Dickensian. The question here, amid all the lying, lazing about and (eventually, inevitably) dying, is to what end?We’re dragged back to 2006, where two boys at Oxford — bookish Oliver (Barry Keoghan) and rakish Felix (Jacob Elordi) — forge one of those imbalanced, obsessive friendships that one of them mistakes for love and the other tolerates because he’s needier than he looks. It goes south or sideways or to outer space but also nowhere. Well, that’s not entirely accurate, since it also goes, for one summer, to Saltburn, Felix’s family’s estate, a grassy expanse that boasts a Baroque mansion with stratospheric ceilings, one cantilevered staircase, copious portraiture, a Bernard Palissy ceramic platter collection and one of those garden mazes where characters get lost right along with plots.These two meet, in earnest, when Oliver loans Felix his bike, a moment Oliver’s been waiting for. The best scenes in the movie happen during this Oxford stretch when Oliver experiences Felix as an intoxicant, and Felix’s prepster coterie experiences Oliver as an irritant. There’s some crackle and dreaminess and post-adolescent instability here. Identities are being forged. It’s been better elsewhere — John Hughes, “Heathers,” Hogwarts, Elordi’s HBO show “Euphoria.” But Fennell squeezes some hunger, cruelty and passable tenderness onto these moments. When Oliver tells Felix his father’s just died, Felix extends his Saltburn invitation out of sincere compassion.Now, what happens over the course of this visit amounts to a different movie — or maybe three. Lust and envy take over. As does Fennell’s tedious, crude stab at psychopathology. Felix hails from one of those stiff, pathologically blasé clans where “clenched” counts as an emotion. Everybody at Saltburn seems ready for a new toy. And Oliver’s A-student impulses make a sport of ingratiation. His erudition, availability and blue eyes impress Felix’s droll mother, Elspeth (Rosamund Pike); his mere arrival arouses Felix’s self-conscious zombie of a sister, Venetia (Alison Oliver). In a different movie, their enthusiasm for this newcomer would make you sad for Farleigh (Archie Madekwe), a schoolmate and old pal of Felix who’s already on the premises, practically a member of the family and flatulent with attitude by the time Oliver shows up. He’s the one nonwhite major character in “Saltburn,” a fact the movie considers doing something intriguing with but abandons. His eyebrows are just chronically Up to Something. Is Farleigh worried about losing a financial lifeline? Is he jealous that Oliver might consummate things with Felix before he does?But this isn’t a movie in which anybody’s reaction to new developments is straightforward — and not because there’s anything complex or psychological going on with the screenwriting or the performances (Richard E. Grant pumps Felix’s father full of drollery). It’s because Fennell is more drawn to — or maybe just better at — styling and stunts than she is the tougher work of emotional trenchancy. If she gives us one music-video bit (a montage, a whole tracking shot), she must give us half a dozen. When the time comes for the movie to make its switch to gothic mischief, it’s like watching the first half of “Psycho” turn into the video for “When Doves Cry” or George Michael’s “Freedom! ’90.” What’s that look like? Well: Oliver sneaks a peek as Felix masturbates in a tub, and once the coast is clear he bends over and sips the draining bathwater. It’s a fine shot that’s also an absurd thing to have this guy do. Which is how you know the movie is failing as a good work of trash. I didn’t laugh or gape. I just sat there watching an actor do his damnedest to save the rest of the movie before it heads down the drain. Fennell keeps going, though, turning her mild protagonist into someone ripe for the cover of a bodice-ripper: a crafty virgin discovers the lethal weapon of lust.This was the gist of “Promising Young Woman,” too: that sex was like a chain saw or a gun. When it landed in 2020, the moment seemed right. Fennell had found a way to turn a premise you’d propose at a dinner party or while tipsy in the back of a cab into something tight and mordant: a “rape culture” revenge-o-matic. But it was so morally and formally tidy that it punched its own teeth out. The “o-matic” won. “Saltburn” has the same seductive sleekness — the nerve. But none of the dread or poison kick.The film’s comic centerpiece was also the star of Fennell’s other movie: Carey Mulligan. Here, she’s deadpanning her way through a chicly ratty mess named Pamela. Mulligan does blinkered, stammering and sad like if Tama Janowitz had written Miss Havisham first. It’s just Helena Bonham-Carter karaoke. But the movie needs it. Pamela has maybe three actual scenes, then we never see her again. She’s overstayed her welcome at Saltburn. But the movie misses the campiness Mulligan’s giving. You’d like to see her and Pike try on the vulgar farce of “Absolutely Fabulous.” But Fennell is going for real opulence, not a comedy of it.If “Promising Young Woman” had feminist vengeance on its mind, what’s “Saltburn” thinking? I spy three hovering text dots. It’s got some twists and a handful of good lines (nearly all of them belong to Pike), but it doesn’t have many thoughts and even fewer feelings. Here is a movie where gay things occur, but homosexuality abuts, alas, corruption and conniving.I suppose Fennell has made a movie about toxic elitism, but she’s done it in the way Ikea gives you assembly instructions. And barely even that, since the most blatant class indictment is outsourced to the Pet Shop Boys’ “Rent” during a bout of actual karaoke with Oliver and Farleigh. Staging the warfare between two strivers isn’t a bad urge, but that doesn’t go far enough, either. The movie does for “posh” what “Soul Plane” did for “ghetto”: luxuriate in what it’s pretending to blow up.I’m even left doubting Fennell’s expertise in main characters. Are we meant to clock a nerd who, when he sheds the clothes and spectacles, makes you as horny as Felix is supposed to make him? Barry Keoghan is trying to create a role out of the disparate parts of other ones (Norman Bates, Tom Ripley, Patrick Bateman), yet doesn’t get all the way there. He couldn’t have. There is no “there.”The whole movie seems to exist for its coda, and presumably the prosthetics designer whose name appears in the closing credits. It’s another music-video fantasia, but so cynical, literal-minded and literally cheeky that I cringed my way through it. And it asks a lot of Keoghan, who could have built a memorable, original character for Fennell. But real acting is not what Fennell’s after here. Oliver has a decent amount of strategic sex and Keoghan does his share of nudity, but the only pornographic thing about the movie is the house.SaltburnRated R. Throw a rock. Running time: 2 hours 7 minutes. In theaters. More

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      Kerry Condon on Her ‘Banshees of Inisherin’ Oscar Nomination

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      Kerry Condon had hoped to be among her horses when last week’s Oscar nominations were announced. If she kept busy tending her farm in Seattle, she figured that no matter the outcome of the early morning announcement, the work required to care for those two animals would help ground her in normalcy. After all, what do they know about Oscar odds?“If I’d hugged them at 5 a.m., they would have been like, ‘It’s almost feed time, where’s our hay?’” she said. “They would have been having none of it!”It didn’t quite go down that way, since work conspired to keep her in Los Angeles, where the Irish actress has lived for the last decade. Still, Condon is hardly complaining: On that fateful Tuesday morning, she received her first Oscar nomination, for Martin McDonagh’s “The Banshees of Inisherin,” in which she plays the feisty but lonely Siobhan, who counsels her brother, Padraic (Colin Farrell), through a feud with his best friend (Brendan Gleeson), fends off an enamored suitor, the oddball Dominic (Barry Keoghan), and wonders if there’s more to life than what can be experienced on the cloistered island where she grew up.It’s a breakthrough role for the 40-year-old Condon, who met me for lunch in Los Angeles just days after her nomination to discuss a career full of ups and downs. “I don’t think anything has ever come easy to me, so I have the opposite of a sense of entitlement,” she said.Though Condon grew up in the country town of Tipperary, she was always keen to make her mark in Hollywood: When she was just 10, she even wrote an unanswered letter to the well-known agent Mike Ovitz, asking him to represent her. (It didn’t work, but you’ve got to admire the chutzpah.) After graduating from the equivalent of high school, Condon worked in theater and could be seen in supporting parts on dramas like “Rome,” “Luck” and “Better Caul Saul,” but the major screen role that would kick her career into a higher gear had been hard to come by until now.“I think she’s probably been better than a lot of the directors and material she’s had to work with,” said McDonagh, who cast Condon in many of his plays and conceived “Banshees” with her in mind. “I always wanted to try and write something for her that would capture how brilliant she is onstage, but in a movie.”The “Banshees” filmmaker Martin McDonagh said the actress has “probably been better than a lot of the directors and material she’s had to work with.”Ariel Fisher for The New York TimesWith her Irish accent and impish sense of humor, Condon has been a welcome presence in every awards ballroom, though all that glad-handing can take its toll, she said: “I’m extremely introverted and I live alone, so when I come back from those things, I need to be hooked up to a drip!” Still, she’s thrilled to have the recognition, excited to be nominated alongside her three castmates, and ready for whatever happens to her screen career.“If it doesn’t change, and I still have my little peaks and valleys, at least I’ll be more equipped,” Condon said. “And I’ll also know that passes as quick as the good fortune passes.”Here are edited excerpts from our conversation.How did you feel the day before the Oscar nominations were announced?Interviews With the Oscar NomineesMichelle Yeoh: The “Everything Everywhere All at Once” star, nominated for best actress, said she was “bursting with joy” but “a little sad” that previous Asian actresses hadn’t been recognized.Angela Bassett: The actress nearly missed the announcement because of troubles with her TV. She tuned in just in time to find out that she was nominated for her supporting role in “Black Panther: Wakanda Forever.”Andrea Riseborough: The star of “To Leslie” received her first Oscar nomination thanks to a campaign by some famous friends that has since attracted controversy and scrutiny. Here is what the actress said about being nominated.Ke Huy Quan: A former childhood star, the “Everything Everywhere All at Once” actor said that the news of his best supporting actor nomination was surreal.Austin Butler: In discussing his best actor nomination, the “Elvis” star said that he wished Lisa Marie Presley, who died on Jan. 12, had been able to celebrate the moment with him.I was busy in my house and I felt occupied, but as the day went on, my body was feeling really nervous and I was like, “Damn that subconscious! It’s obviously on my mind.” But I did go on a beautiful hike by myself and I clocked the moment, thinking, “I’m actually really happy right now. So just remember that if it doesn’t work out tomorrow, I was happy today and I didn’t have it.”Did you sleep well that night?I did but I could sleep through a nuclear bomb. I’m telling you, they should study me. I was going to turn off my cellphone and have my manager give the news to me like a regular business day — I was trying to be all cool so if I didn’t get it, I could take that moment privately and get myself together. But Colin called me and was like, “Do you want to watch it together?” Then I had to debate that for three hours because I was like, “What if one of us gets it and the other one doesn’t? Do I want to experience this massive moment with other people?” At the last minute, I said, “I’ll go to your house and watch it.”And on West Coast time, that means getting up before dawn.It was the weirdest thing getting up in the dark and scurrying out the door. Honest to God, it felt like we were doing something illegal! It’s just so surreal to be at anyone’s house at 5 in the morning, sober and in your pajamas, but I’m really glad I shared it with other people because it felt nice to get hugs in that moment. Whereas if I’d have been on my own, it would have been amazing, but it also would have been like, “God, Kerry, you’re such a loner!”In a statement released that morning, you described the nomination as “a dream come true.”I don’t think there’s anything wrong with admitting that you’re ambitious. It’s not like I’m Lady Macbeth and I’m stabbing the competition. I watched the Oscars when I was a kid and it’s always been on my radar. At the same time, was my happiness dependent on this? No, I’m not that much of a superficial person.You’ve worked with Martin McDonagh several times on plays. What took him so long to write a great film role for you?I don’t know, but I never got on his case about it. I was just really happy that we had been friends for so long. If I’d say, “Oh, I’m up for this job, I’m down to the last two,” and then I wouldn’t get it — which was the story of my life for a few years — Martin was one of the very few people in my life who’d say, “You’re great, and that guy’s a terrible director.” He always kept me going with things like that, and that was enough. I remember Martin got me a lovely bracelet saying, “It’s the journey that matters in the end,” and I still have it.Condon with Colin Farrell in a scene from “Banshees.” Playing his lonely sister in the film did take its toll: “That line to Siobhan of, ‘No wonder no one likes you,’ that was starting to ring in my ears.”Searchlight PicturesHow did you feel when he offered you “Banshees”?I can’t remember because my dog died just before Covid, and the lead-up to my dog dying was a whole thing. I was very distracted, and on the horizon was this possible “Banshees” thing, but I couldn’t think beyond my dog. I paused everything. I said to my agent a year before that, “I’m not doing any jobs, I have to see this through. I don’t care what I’m missing, I have to be with her.” It was hard because I lived alone with her, and when you don’t have children, she was just everything to me.That death had such a profound effect on me that it made me go, “Why aren’t people crying all the time? Why aren’t people talking about the fact that we all just disappear?” I remember thinking it was like when you lose your virginity: You hear about sex and you’re like, “What is that?” And then you have it, and the world cracks open, and there’s no going back. That’s how it felt with grief: I was like, “Oh, this is something I am going to have to deal with throughout my life.”Is that something you were able to bring to Siobhan, who has been taking care of her brother since their parents passed away?That was my starting point. I felt that Siobhan was stuck in that grief and not able to grow and be her own person because she had to fill the mother shoes with Padraic. Grief is a lonely journey. After a while, you can’t keep going on about it, because people are like, “I don’t know what you want me to say.” It is something you have to go through alone, but Martin had to control me in that because I think it was getting too sad sometimes. He was like, “She has to see that there’s a possibility of a change and that there’s more to life. There has to be an element of hope.” So I felt like it really came at the perfect time in my life.It’s ironic that Siobhan is so hostile to her brother’s donkey, since you’re such an animal lover in real life.That was really hard for me! I was always saying to Martin, “I feel like Siobhan would be happier if she would just let the animals in the house, and if she liked animals as much as I do.” And he was like, “I don’t know if that would be enough to fulfill her life.” But I’m different. I feel like animals are enough to fulfill my life.People have really responded to the scene where Dominic confesses his crush to Siobhan. That clip has trended on Twitter several times, and you and Barry are both terrific in it.I think he’s manipulating the internet — I’m like, “Somebody’s behind this, and I bet you any money, it’s Barry!” That was the last day of the shoot and the last scene I did. I had always imagined that Dominic had done things to Siobhan over the years that really unnerved her, like maybe stolen some of her clothes off the washing line. But at the same time, she was evolved enough to be kind to him in that moment, which made her even more beautiful a character.“My goal has always been to be an actress, never to get married and have children,” Condon said. “I don’t think it’s something I should do just because I’m a woman. I’ve never followed conventions, and I’m hardly going to start now.”Ariel Fisher for The New York TimesWhy do you think Siobhan gets so angry when Dominic asks why she never married?Oh, that’s a good one, because it’s hitting a nerve. I talked about that with Martin: “Are we saying that she’s a virgin?” We both came to the decision that she hadn’t had sex with anyone, because it’s Catholic Ireland and that would have been unheard-of, but maybe somebody came from the mainland one time and there were the very startings of a romance. But she couldn’t leave with this person because she was stuck on this island, so it was shut down very quickly. So when she’s asked, “Were you never married, and were you never wild?” I think it really irked her that she never had the opportunity.Have you ever felt a loneliness like Siobhan’s?Because I was never married, does that ever bother me? No. I could be monogamous, but I don’t really care about marriage, and I don’t really know why everyone cares about it.I’m kind of ambivalent about it myself, although I’m the first person to cry at weddings.I get emotional at weddings, too, which is so stupid. Sometimes I’m like, “There she goes, my friend’s gone. Her loyalty’s to her husband now, and there goes our years.” But my goal has always been to be an actress, never to get married and have children. I don’t think it’s something I should do just because I’m a woman. I’ve never followed conventions, and I’m hardly going to start now.How did you feel when you wrapped the film?Funnily enough, I was a little bit glad because by the end of it, it was starting to take its toll. That line to Siobhan of, “No wonder no one likes you,” that was starting to ring in my ears a little bit. And I know for Colin it was taking its toll too, with all the rejection and thinking, “Am I stupid?” If you have to stay in those spaces long enough, you can’t help but have them in your thinking. I found myself coming home some evenings after a great day, and all of a sudden, I’d just be bawling for five minutes. I didn’t even know why I was crying. I just knew there was a heaviness to it, and I was ready to let it go.How did it feel once the movie returned to your life in such a grand fashion, from a Venice Film Festival premiere on to awards season?Looking back, it has been an absolute whirlwind since Venice. Everything has happened super, super fast — so fast that I’m getting nervous for the Oscars coming, since it’s going to be all over then.At least you’ve got a few weeks to savor things until it happens.But still, things end. And isn’t that sad? More