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      Star Directors Buy Historic Village Theater in Los Angeles

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      Concerned about the future of moviegoing in the filmmaking capital, Jason Reitman and a group of distinguished directors purchased the historic Village Theater in Westwood.With the moviegoing experience under threat from streaming services and ever-improving home entertainment options, a group with a passionate interest in its preservation — three dozen filmmakers who create their works for the big screen, to be enjoyed in the company of large audiences — has decided to do something about it.The group of directors, led by Jason Reitman — whose films include “Juno,” “Up in the Air” and “Ghostbusters: Afterlife” — announced Wednesday that it had bought the Village Theater in the Westwood neighborhood of Los Angeles, which was put up for sale last summer to the concern of film buffs. The group, which also includes Christopher Nolan, Steven Spielberg, Lulu Wang and Alfonso Cuarón, among others, plans to restore the 93-year-old movie palace, which features one of the largest screens in Los Angeles.“I think every director dreams of owning a movie theater,” Reitman said in an interview. “And in this case, I saw an opportunity to not only save one of the greatest movie palaces in the world, but also assembled some of my favorite directors to join in on the coolest AV club of all time.”The announcement of the directors group buying the Village Theater, which has long been a favorite venue for premieres, follows on the heels of Quentin Tarantino’s recent purchase of the Vista Theater in the Los Angeles neighborhood of Los Feliz.Once renovated, the Village Theater will showcase a mixture of first-run films and repertory programming curated by the group. The collective also intends to keep the theater open while plans for a restaurant, bar and gallery are finalized. Reitman said that the group was in talks with existing exhibitors about management of the day-to-day operations of the theater, but did not reveal who.The Village Theater was put up for sale last summer for $12 million, and the filmmakers — many of whom are alumni of nearby U.C.L.A. — were fearful it would be torn down and turned into condominiums or a space for retail. The existential threat about the future of theatrical moviegoing also loomed over this endeavor.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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      Sandra Hüller, Uneasy in the Spotlight

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      After Sandra Hüller learned that two movies she stars in — “Anatomy of a Fall” and “The Zone of Interest” — had been selected for the competition at last year’s Cannes Film Festival, she was a little apprehensive about what it might mean for her anonymity. The German actress has always had a prickly relationship with fame: Aside from her role in the bittersweet 2016 feature “Toni Erdmann,” she has mainly kept a low profile, working in German theater.But what happened next outstripped even her boldest expectations. “Anatomy of a Fall,” a French drama in which Hüller plays a woman accused of murdering her husband, went on to win the Palme d’Or, the festival’s top honor, and “The Zone of Interest,” a Holocaust film, took the Grand Prix, or runner-up prize. The Los Angeles Times crowned her the “queen of Cannes,” and, in a few weeks, she will travel from her home in Leipzig, Germany, to Hollywood for the Oscars, where she is nominated for best actress, for “Anatomy.”This attention has been challenging for Hüller — at times overwhelmingly so — and now she is grappling with what the nomination, and its accompanying scrutiny, means for her and her career. “It means being accepted into a circle of people I wasn’t in before,” she said, in a recent interview in Leipzig. “But I don’t know if it means success, or it will make anything easier.”Sitting in a cafe with her black Weimaraner lying under the table, she was warm but a little guarded as she spoke about her newfound global fame. “I like my life. I like my apartment. I like my everyday routine. There’s no lack of anything that I had to fill. I wasn’t waiting for this to happen,” said Hüller, 45. “But it means that people now believe I can do things that perhaps they didn’t believe I could do before.”Justine Triet, the director of “Anatomy of a Fall,” and Hüller during filming.Neon, via Associated PressShe is nominated for an Oscar for best actress for her performance in the film.Neon, via Associated PressIt was also surprising, she noted, because “Anatomy of a Fall” is not a typical Oscars movie. An ambiguous exploration of language, gender dynamics and toxic relationships, it centers on the question of whether Hüller’s character, a German writer also named Sandra, pushed her husband out a window to his death. The movie culminates in a series of courtroom scenes in which a judge — and the audience — must weigh her potential guilt.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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      Interview: Timothée Chalamet and Denis Villeneuve on the ‘Dune’ Films

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      The director Denis Villeneuve and the actor Timothée Chalamet bound into the room talking at, and over, each other in rapid French. Villeneuve is from Quebec; Chalamet was born in New York City but has dual American and French citizenship. Together, they’re a dynamic tag team dressed near-identically in head-to-toe black, although Chalamet’s shiny leather layers have more swagger. The topic of the day is galactic genocide and dubious messiahs, central themes in “Dune: Part Two,” the second installment of their cerebral space epic based on the 1965 novel by Frank Herbert. Yet, the pair are prone to giggle fits.“We didn’t see each other since a while, so it’s like a holiday,” Villeneuve, 56, said apologetically, switching to English. When coffee arrives at the room at the Four Seasons hotel in Los Angeles, the two clink mugs. “That’s our spice,” he chuckled, referring to the psychedelic substance found only on the movie’s planet Arrakis.In “Dune,” spice is the most valuable resource in the universe. Herbert conceived of it as a glittering dust with the power to expand minds, fuel interstellar travel and incite bloody battles over its distribution. Combine the brain-melting effects of peyote, the geopolitical strife over oil and the violence of Prohibition-era bootlegging. Multiply that by the number of stars in the sky and you get the idea.The previous “Dune,” released in 2021, won six Academy Awards. It climaxed with Chalamet’s sheltered scion, Paul Atreides, abducted from his family’s spice-mining compound and left to die in the scorching Arrakis desert, patrolled by fanged sandworms the size of the Empire State Building. To survive “Part Two,” Paul’s mother, Jessica (Rebecca Ferguson), encourages the Fremen, a tribe of desert-dwellers, to believe that her son is their long-awaited savior. The danger is that Paul might be swayed to believe it, too, even as the hallucinogenic spice peppers him with visions of a jihad waged in his name.Heavy stuff. Not that it’s weighing down their mood. As Chalamet, 28, grinned, he said, “The great irony of working with a master like Denis is it’s not some pompous experience.” The two spoke further about the next potential sequel, the impossible quest for onscreen perfection and those infamous “Dune” popcorn buckets. Here are edited excerpts from our conversation.Scenes may look simple, the director said, but he took pains “to make sure that we have the right rock at the right color at the right time of the day.”Warner Bros.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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      A Film Festival in the Back of a Taxi

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      The TaxiFilmFest is partly a protest over the miserable state of Berlin’s taxi industry. But it’s also a celebration of the cab’s iconic place in the urban cultural landscape.Some of international cinema’s biggest names gathered on Tuesday night at the Berlin International Film Festival as the event honored Martin Scorsese with a lifetime achievement award. Before accepting his trophy, Scorsese listened as the German director Wim Wenders gave a laudatory speech to an audience including celebrities and local dignitaries.Just around the corner, parked in the middle of a busy thoroughfare, a group of Berlin’s taxi drivers crammed into the back of a worn-out taxi van to watch a double-feature capped by Scorsese’s 1976 movie “Taxi Driver.”Klaus Meier, who has been driving a cab in Berlin since 1985, handed out bottles of soda and beer, popping the caps with the blade of a pocketknife. Irene Jaxtheimer, who runs a taxi company, passed around homemade popcorn. A generator outside the cab powered a modest television, a DVD player and a small electric heater.The unconventional screening, just outside a centerpiece event for one of Europe’s most prestigious film festivals, was part of the makeshift TaxiFilmFest. Running through Sunday, it is partly a protest over the miserable state of the taxi industry these days and partly a counterfestival to celebrate the taxi cab’s iconic place in the urban cultural landscape.It’s also in objection to an exclusive partnership deal between the festival, known locally as the Berlinale, and the ride-hailing giant Uber to ferry filmmakers between the city’s movie theaters during the event. The deep-pocketed Silicon Valley company has drawn the ire of traditional cabdrivers the world over, and the protesters who packed in for the TaxiFilmFest screenings were railing against what they see as a too lightly regulated rival.Beeping horns from the busy street outside — some of them coming from sleek black Uber vehicles emblazoned with the Berlinale logo — blended with the street scenes from “Taxi Driver” playing on the tinny television speakers. “Ah, I really miss those mechanical fare boxes!” Meier said as the fares ticked away in the onscreen cab of the movie’s unhinged antihero, Travis Bickle, who drives around mid-’70s New York with growing hatred and menace.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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      Armorer Who Loaded Gun in Alec Baldwin Shooting Faces Trial: What to Know

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      The armorer, Hannah Gutierrez-Reed, is charged with involuntary manslaughter in the fatal shooting of a cinematographer on the set of the film “Rust.” She has pleaded not guilty.The armorer who loaded the gun that Alec Baldwin was rehearsing with on a film set in 2021 when it fired a live round and killed the movie’s cinematographer is heading to trial in New Mexico this week on a charge of involuntary manslaughter.The trial of the armorer, Hannah Gutierrez-Reed, will mark the first time a trial jury will weigh in on the Oct. 21, 2021, shooting on the set of the film “Rust,” which claimed the life of its cinematographer, Halyna Hutchins. A grand jury indicted Mr. Baldwin last month on a charge of involuntary manslaughter in the shooting; he has pleaded not guilty and will be tried separately later.The trial, which will begin with jury selection on Wednesday at the First Judicial District Courthouse in Santa Fe, N.M., is expected to last about two weeks.Ms. Gutierrez-Reed, 26, has been accused of criminal negligence in her handling of guns on the set of the western. Prosecutors say she failed to properly check that the rounds she loaded into the .45-caliber revolver were all dummy rounds, which are inert cartridges used to resemble live rounds on camera but which cannot be fired.“Her primary function as an armorer on the ‘Rust’ movie set was to ensure gun safety,” the lead prosecutor on the case, Kari T. Morrissey, wrote in a court filing. “Her reckless failure resulted in the senseless death of another human being.”Ms. Gutierrez-Reed has pleaded not guilty, and her lawyers have argued that she has been made the “scapegoat” of a tragic accident. They blamed someone else for the appearance of live rounds on set and charged that the production cut corners on safety in an effort to reduce costs, including by overburdening Ms. Gutierrez-Reed with two jobs that prevented her from being able to focus fully on her weapons and ammunition duties.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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      ‘Mister Organ,’ ‘Destroyer’ and More Streaming Gems

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      Con artists and ghost stories are among our recommendations from the subscription streaming services this month.A unique horror omnibus, an existentialist supernatural story, and atypical star turns are among our recommendations from the subscription streaming services this month, along with some essential background viewing for one of this year’s Oscar nominees.‘Mister Organ’ (2023)Stream it on Netflix.The New Zealand journalist David Farrier has carved out an unusual niche for himself, crafting documentaries about fringe figures that at first seem to be jokey oddities, but later reveal disturbing dimensions and shadowy back stories. His previous feature, “Tickled,” took him into the bizarre world of Competitive Endurance Tickling, and the mysterious figure bankrolling it; this time, an investigation into predatory parking practices puts him in the sights of a con artist named Michael Organ. And that’s when things really get strange. As with “Tickled,” Farrier’s latest begins like a human interest story and turns into something closer to a thriller, as the peculiarities of this unstable personality reveal themselves, often unnervingly. Farrier is a solid anchor for this strange journey, proving unflappable (and capable of finding the gallows humor) in even the most extreme of circumstances.‘Destroyer’ (2018)Stream it on Amazon Prime Video.Nicole Kidman — de-glammed and borderline unrecognizable — stars as the corrupt, alcoholic Los Angeles Police detective Erin Bell, whose investigation of a stray dead body leads her down a rabbit hole of re-examining her own troubled past. The director Karyn Kusama and the screenwriters Phil Hay and Matt Manfredi, who previously collaborated on the tense and terrifying thriller “The Invitation,” expertly tell two stories at once: of Bell’s undoing in her 20s as an undercover F.B.I. agent, and of her current, perhaps irredeemable iteration. It’s a tough balancing act to pull off, but Kusama gets the job done, keeping our interest in each timeline piqued without one overwhelming the other. And this is among Kidman’s finest and most chameleonic work, expertly dramatizing both a woman in disarray and the circumstances that got her there.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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      “Poor Things,” the Weird Movie, Was “Poor Things” the Weird Novel, First

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      Hot air balloons soar above the Mediterranean. Aerial streetcars fly along ropes suspended above the alleys of a candy-colored Lisbon. Pastel green smoke billows into the night sky from the funnels of a cruise ship.This is the eye-poppingly surreal world that Bella Baxter, played by Emma Stone, thrills to in Yorgos Lanthimos’s Oscar-nominated film “Poor Things.”Bella, a 25-year-old woman who, after committing suicide, is reanimated with the brain of her unborn infant, is the daring and unusual creation of Alasdair Gray, whose 1992 novel was adapted for the movie.And it may not even be his most eccentric book. A prolific writer and visual artist who died at 85 in 2019, Gray wrote five other novels, two novellas, 89 short stories and a version of Dante’s Divine Comedy (“Decorated and Englished in Prosaic Verse”).In Scotland, Gray is something of a national treasure, his papers housed at the National Library of Scotland. (The cover flap for his illustrated autobiography, “A Life in Pictures,” described the lifelong Glaswegian as “Scotland’s best-known polymath.”)Outside Britain, however, he is not exactly a household name.“I would say he’s one of the very few writers from my lifetime that I’m in awe of,” said the English novelist Jonathan Coe, adding that Gray is “enormously respected” by writers and critics.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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      Sam Mendes to Direct Four Beatles Films

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      The Oscar-winning filmmaker Sam Mendes was given full rights to the band’s music and their life stories for the unusual quartet of films, planned for 2027.The British director Sam Mendes has signed on to direct not one but four biopics about the Beatles, each telling the story of the Fab Four from a different member’s point of view.Apple Corps, the guardian of the Beatles’ musical interests, and Paul McCartney, Ringo Starr and the families of John Lennon and George Harrison have granted full life story and music rights for the scripted films — a first — which will be financed and released by Sony Pictures Entertainment. The films are planned for release in 2027.“I’m honored to be telling the story of the greatest rock band of all time, and excited to challenge the notion of what constitutes a trip to the movies,” Mendes said in a statement on Tuesday. The announcement teased that the films would be released in an “innovative and groundbreaking” manner, but did not offer details.In recent years Mendes, the Oscar-winning director of “American Beauty,” has helped refresh the James Bond franchise with “Skyfall” and told the story of two British lance corporals in World War I in “1917.” As a theater director, he showed an ability to work with complicated biographical material over a long stretch of time with “The Lehman Trilogy,” a saga about the rise and fall of Lehman Brothers that earned him a Tony Award.Biopics about pop stars have grown popular in recent years: “Bob Marley: One Love” was on track to earn an estimated $33.2 million last weekend, following on the success of films including “Elvis” in 2022 and “Bohemian Rhapsody” in 2018.The Beatles have shown strength with movie audiences since they starred in “A Hard Day’s Night” in 1964, playing versions of themselves. Their fans continue to show an appetite for expansive projects: Peter Jackson’s documentary series “The Beatles: Get Back,” an over-seven-hour project, was released to much acclaim in 2021 on Disney+. More