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Venice Film Festival 2023: What to Watch For
New films from David Fincher, Sofia Coppola, Ava DuVernay and Michael Mann will make up for the absence of stars kept away by the Hollywood strikes.A year ago, the Venice Film Festival had enough star power to put even celebrity-worshiping Cannes on notice. Highlights were quickly beamed all over the world, including the notorious “Don’t Worry Darling” kickoff that fueled endless speculation about the film’s director, Olivia Wilde, and her stars Florence Pugh and Harry Styles; the news conference where an unexpectedly sagacious Timothée Chalamet predicted imminent societal collapse; and the tearful Brendan Fraser comeback that began on the Lido and culminated in his best actor Oscar win.But without all of those celebrities, can Venice still go viral?The 80th edition of the festival, which begins on Wednesday, will be significantly affected by continuing strikes by the Screen Actors Guild (or SAG-AFTRA) and the Writers Guild of America, since the actors’ union has instructed its members not to do press for any studio movies until the strike against those companies is resolved. That puts Venice in a bind, as it’s regarded as one of the best places for Hollywood to unveil starry awards-season titles. Few major actors will even be permitted to attend this year.The actors’ strike has already cost Venice its original opening-night film, Luca Guadagnino’s sexy tennis romance, “Challengers,” since MGM delayed it from September to spring in the hopes that its lead, Zendaya, will be allowed to promote it several months from now when the strikes might be resolved. (A low-profile Italian film is opening instead.) And I’ve heard of a few more starry fall films that were earmarked for Venice but opted for the Telluride Film Festival instead, since that event is less driven by the photo ops and news conferences that are no longer feasible in Italy.Despite some of those trims, the Venice lineup is still enticing, with an auteur-heavy list featuring directors nearly as famous as their leads. And Venice has proved before that it can adapt to unfavorable limitations: Amid the pandemic in August 2020, the festival opted for a smaller, partly open-air edition that still went on to premiere the eventual winner of the best picture Oscar, “Nomadland.”Emma Stone, left, and Mark Ruffalo in “Poor Things,” from Yorgos Lanthimos. Atsushi Nishijima/Searchlight Pictures, via Associated PressThis year’s program includes two films about assassins-for-hire: David Fincher’s new thriller, “The Killer,” stars Michael Fassbender, while Richard Linklater’s “Hit Man” features the “Top Gun: Maverick” breakout Glen Powell, who also served as a co-writer. I’m curious about the off-kilter comedy “Poor Things,” directed by Yorgos Lanthimos (“The Favourite”) and starring Emma Stone as a sexually curious Frankenstein’s monster. Ditto “Maestro,” Bradley Cooper’s second directorial effort, after “A Star Is Born.” He’s cast himself as the composer Leonard Bernstein, opposite Carey Mulligan as Bernstein’s wife, Felicia, and his decision to wear a prosthetic nose has already set off controversy.Baz Luhrmann’s “Elvis” was a big hit last year, but what will that story look like through Sofia Coppola’s lens? The “Lost in Translation” and “Marie Antoinette” director puts her spotlight on Elvis Presley’s wife with “Priscilla,” featuring Cailee Spaeny as teen bride Priscilla Presley and the “Euphoria” star Jacob Elordi as the singer. Ava DuVernay has adapted the Isabel Wilkerson book “Caste” for her new film, “Origin,” which stars the Oscar nominee Aunjanue Ellis in an examination of racism and systemic oppression. And though Michael Mann has secured a guild exemption that would allow the cast of “Ferrari” to promote it in Venice, I’m curious whether his new film’s press-shy lead, Adam Driver (as the racer-turned-car-magnate Enzo Ferrari), is willing to do a full-blown media blitz for the movie, which the hot indie studio Neon is releasing in theaters on Christmas Day.Two years after the release of his Oscar-winning breakthrough “Drive My Car,” the director Ryusuke Hamaguchi returns to the festival circuit with “Evil Does Not Exist,” which originated as a dialogue-free short and became a feature-length film about ecological collapse. And two months after releasing his feature-length “Asteroid City,” the director Wes Anderson is opting for something shorter with “The Wonderful Story of Henry Sugar,” a 37-minute Roald Dahl adaptation for Netflix.Harmony Korine premiered his biggest film, “Spring Breakers,” at Venice back in 2012, and he’ll return with the mysterious “Aggro Dr1ft,” which stars the rapper Travis Scott and was shot solely using infrared photography. He’s not the only director taking chances: Pablo Larraín, the director of “Jackie” and “Spencer,” has set the divas aside for a moment to make “El Conde,” a black-and-white supernatural fable that reimagines the Chilean dictator Augusto Pinochet as a bloodsucking vampire.And then there are the chances that Venice itself is taking when it comes to three auteurs: It is premiering “Dogman” from Luc Besson, who was accused of sexual assault but cleared by prosecutors; “The Palace” from Roman Polanski, who was convicted of unlawful sex with a minor but fled before he could be sentenced; and “Coup de Chance” from Woody Allen, who has denied sexual abuse accusations by Dylan Farrow, his adopted daughter.Venice will also serve as an elegy of sorts for the director William Friedkin, who died earlier this month and whose final film, the naval drama “The Caine Mutiny Court-Martial,” will premiere posthumously on the Lido. Adapted by Friedkin from the Pulitzer Prize-winning novel by Herman Wouk, it stars Jake Lacy and Kiefer Sutherland. More
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What’s on TV This Week: ‘Claim to Fame’ and ‘Family Law’
The ABC reality show hosted by Kevin and Frankie Jonas wraps up, as does Canadian legal drama on the CW.Between network, cable and streaming, the modern television landscape is a vast one. Here are some of the shows, specials and movies coming to TV this week, Aug. 28-Sept. 3. Details and times are subject to change.MondayCLAIM TO FAME 8 p.m. on ABC. While Kevin Jonas tours with his other brothers (the Jonas Brothers), and Frankie Jonas is up to his usual TikTok shenanigans, the show they co-host, about people who have a celebrity relative, is coming to an end. After a season of challenges, detective work and the elimination of relatives of former President Jimmy Carter, Dolly Parton and Jenny McCarthy, there are four celebrity relatives left to uncover. Even though we have our suspicions (*cough* Gabe is related to Nick Cannon *cough*), some contestants like Monay have held tightly to their secret relation. On Monday, all will finally be revealed.STARS ON MARS 8 p.m. on Fox. What happens when you send some “celebranauts” (Fox’s wording, not mine) into a Mars simulation? This week we are getting the answer, as Porsha Williams Guobadia, Cat Cora, Tinashe, Paul Pierce and Adam Rippon compete to assemble a satellite tower and broadcast a message back to Earth. The stakes couldn’t be lower, as obviously they aren’t really on Mars.A still from “Once Upon a Time in Northern Ireland.”ALAMY/Alain Le GarsmeurONCE UPON A TIME IN NORTHERN IRELAND 9 p.m. on PBS (check local listings). From the late 1960s to the late 1990s, Northern Ireland saw no shortage of nationalist and sectarian violence. This new documentary series combines archival footage with profiles of people who lived through the conflict.TuesdayJUSTIFIED: CITY PRIMEVAL 10 p.m. on FX. This show is a sequel to “Justified,” with Timothy Olyphant returning as Deputy U.S. Marshal Raylan Givens. This time Givens is joined by his daughter, played by Olyphant’s real-life daughter Vivian Olyphant. The show takes place in Miami, 15 years after Givens left Kentucky. This eighth episode wraps up the first season.WednesdayA computer screen showing the Ticketmaster website.Joe Raedle/Getty ImagesSOLD OUT: TICKETMASTER AND THE RESALE RACKET 11 p.m. on Vice. If you, too, tried and failed to get tickets to Taylor Swift’s tour this year, you are no stranger to mayhem in concert sales. This Vice documentary follows malicious brokers who buy face-value tickets and sell them for much more — and how a Ticketmaster and Live Nation monopoly allows them to get away with it.ThursdayTHE GRAPES OF WRATH (1940) 9:45 p.m. on TCM. Based on the novel of the same name, this movie follows the Joad family as they head to California to start a new life after their farm in Oklahoma was seized by the government. “What we’ve been trying to say is that ‘The Grapes of Wrath’ is just about as good as any picture has a right to be; if it were any better, we just wouldn’t believe our eyes,” Frank S. Nugent wrote in his review for The New York Times.FridayFAMILY LAW 9 p.m. on The CW. This Canadian law drama has followed Abigail Bianchi (Jewel Staite) as she rehabilitated herself and her image after showing up to court drunk. This season she has continued to work at the family practice, Svensson and Svensson, while managing her crumbling marriage. The finale will put that all into perspective as she has to choose between her family’s law firm and a lucrative offer at her former firm.SaturdayTopher Grace, left, and George Clooney in “Ocean’s Eleven.”Warner Bros., via Everett CollectionOCEAN’S ELEVEN (2001) 8:30 p.m. on TBS. This movie gave us three rules to live by, or keep while committing crimes: “Don’t hurt anybody, don’t steal from anyone who doesn’t deserve it, and play the game like you’ve got nothing to lose.” The story follows Danny Ocean (George Clooney), Rusty (Brad Pitt) and their friends as they plan a heist from a casino owner who is not-so-coincidentally the lover of Danny’s ex-wife, Tess (Julia Roberts). Watch for the truly random foods — popcorn, fruit cup, lollipop? — that Brad Pitt’s character is eating in each scene.SundayTHE INCREDIBLES (2004) 6 p.m. on Freeform. This animated movie about a family of superheros who try to keep their individual superpowers under wraps gave us some amazing characters: Jack-Jack (the bizarrely strong baby of the family), Frozone (everything he touches can turn to ice) and Edna Mode (“My God, pull yourself together!”). “‘The Incredibles’ may resonate more strongly with adults than with children, as it is, at its heart, a story of midlife frustration and compromise, examining the toll that unfulfilling work can exact on a marriage, and the heady rebirth that professional satisfaction can bring,” A.O. Scott wrote in his review for The Times. If you can’t get enough of this superhero family, INCREDIBLES 2 (2018) is airing immediately after on the same channel. More
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At This Movie, Their Phones Won’t Bother You. Their Barking Might.
A cinema chain in Britain is welcoming dogs to select screenings. They don’t need their own tickets, and they don’t need to turn off their cellphones.Kab, a 2-year-old Doberman wearing a blue bandanna, is noticeably anxious.Sometimes called “cupcake,” he is roughly the size and weight of a teenage boy and has the energy to match. At the moment, he is being led around the courtyard of a cinema in East London by one of his owners, Luisa Fulcher, to walk off his jitters and allow for one last bathroom break before he and a handful of other dogs settle in for something unusual: their first moviegoing experience.Last weekend, Curzon Cinemas, a chain with 16 locations in Britain, began allowing dogs to attend select movie screenings with their owners, starting with “Strays,” an expletive-laden, live-action comedy that follows a group of dogs (voiced by actors including Will Ferrell and Jamie Foxx) that unite to seek revenge on an owner.Luisa Fulcher, center, and her dog Kab were among the attendees at Saturday’s screening. “Nowadays pets are part of the family,” she said.Mary Turner for The New York TimesLondon is a paradise for pooches, which are regularly found at the feet of their owners at restaurants, pubs, on trains and in many other public places. Movie theaters may be next to welcome dogs, thanks in part to the pandemic.In Britain, which has a population of about 67 million people, there are an estimated 11 million pet dogs, according to a report this year by the People’s Dispensary for Sick Animals, a veterinary charity. Pet ownership surged during the pandemic, and now that workers are being encouraged to return to the office, some pets and their owners are struggling with the transition.“A lot of people got dogs during the pandemic, and they want to come and see a film with their dog,” said Jake Garriock, the head of publicity at Curzon. He said the new screenings were part of a larger program designed to let customers watch films in ways that best suit them, such as screenings for infants that feature reduced volume and increased lighting.For now, Curzon is allowing dogs of any breed at only one screening a week, at only one of the chain’s London locations, said Mr. Garriock. (And no, separate tickets are not required for dogs.) They’re not allowed on the seats, and their owners must clean up any accidents.Curzon is not alone in welcoming dogs. Picturehouse Cinemas, another British chain, has offered pup-friendly screenings since 2015, and there are numerous independent movie theaters in Britain that do so. (Most cinemas, however, allow only service dogs.)Back outside the theater, Ms. Fulcher said she had brought a bone for Kab, who was now whimpering for attention and playfully jumping on this reporter.Rebecca Minty and her dog, Lottie, also attended the screening.Mary Turner for The New York Times“I think that it’s a great idea because nowadays pets are part of the family,” she said of the theater’s new screenings. “They are not just pets anymore. It’s like your little baby.”For other dog owners, the screenings provide a new freedom. Ziad Dajani said he and his partner had not been to the movies together in four years because of Tarçin, their 8-year-old Australian Labradoodle, who suffers from separation anxiety. “We’re his hostages, basically,” Mr. Dajani said. “So we can’t leave him alone for a minute. Someone has to be with him all the time.”Standing in line to purchase snacks for the screening were a few other dog owners, including Rebecca Minty and her daughter. With them was Lottie, who was lying on the floor and not particularly bothered by anything or anyone. Ms. Minty said Lottie, a 7-year-old working cocker spaniel who does not work, was taken on a long run before coming to the theater in an effort to keep her calm.Inside, the screening was like any other, except for the rustling of collars and the occasional bark. The movie’s sound level was also dialed back.“It’s vital that cinemas reduce the sound at dog-friendly screenings, otherwise the volume could cause them distress and even pain,” Dr. Katherine Polak, a veterinarian and a vice president at Humane Society International, said in a statement. “In principle, it’s similar to cinemas that offer baby-friendly screenings that also reduce sound and accept that some level of disruption is likely.”Paget Fulcher, Kab’s other owner, said after the screening that Kab had behaved well despite the challenges. “Most of the time, he was laying down on the ground, playing with a toy that we brought for him,” he said. “It was all good. Nothing bad happened. I think we’re very happy with how it went.”A dog’s behavior at home offers clues as to how the animal might handle a movie screening, according to Graeme Hall, a British dog trainer known as “The Dogfather” who hosts the Netflix show “Dogs Behaving (Very) Badly.”“Some dogs seem to like watching the television, and some dogs don’t notice,” said Mr. Hall, who advised monitoring a dog for signs of stress, including making sounds, yawning, licking their lips and pinning back their ears.Mr. Spandley and his dog Jeff leaving the cinema (for which Jeff did not need a ticket).Mary Turner for The New York TimesHe also said dogs take their cues from their owners. “We know for a fact that dogs are constantly looking at our facial expressions and body language, the little sounds we make, even our breathing patterns,” he said. “If you’re having a good time, there’s a very good chance that your dog will pick up on that.”Mr. Garriock acknowledged that not everyone might enjoy going to a movie with dogs in the audience.“Obviously, there’s plenty of screenings where they won’t be interrupted by dogs,” he said. “If you like cats, then you can head to one of the other screenings.” More
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What Hollywood Gets Right and Wrong About B’nai Mitzvah
The Jewish ceremony can be the setting for a sharp look at growing up. But it has too often been used for glosses that ignore the rite’s deeper meaning.In the Jewish faith you become an adult at the most awkward possible moment: when you turn 13. Sure, in the eyes of God and your Hebrew school, you are mature enough to read from the Torah and embrace the responsibilities of grown-up life. But in reality you’re probably a scared kid for whom true maturity is far off, despite all those uncomfortable hormones.That was the case when I was bat mitzvahed in 2013 — mortifyingly (but also with a hint of pride) getting my first period shortly before the event — and that’s the case in the new Netflix film “You Are So Not Invited to My Bat Mitzvah,” based on the 2005 young adult novel by Fiona Rosenbloom.The movie, directed by Sammi Cohen, is the story of Stacy Friedman, played by Sunny Sandler. (Sunny is the daughter of Adam Sandler, who plays her dad in the film. Her real life-sister, Sadie, has been cast as her movie sibling, Ronnie. Their mother, Jackie Sandler, also in the cast, portrays a different girl’s mom — the role of Stacy’s mom went to Idina Menzel, who played Adam’s wife in “Uncut Gems.” Got all that?)Stacy has long dreamed of a blowout bat mitzvah alongside her best friend, Lydia Rodriguez Katz (Samantha Lorraine), but the messy realities of middle school meddle with their party plans. There are ill-advised crushes, moments of embarrassing flirtation and the kind of humiliating cruelty that only a 13-year-old with a grudge can muster. Eventually, Stacy takes the bimah at her bat mitzvah to read her Torah portion, and she learns the kinds of life lessons that come when you’ve emerged from the navel-gazing cocoon of youth.Sunny Sandler in “You Are So Not Invited to My Bat Mitzvah.” The film is based on the novel by Fiona Rosenbloom.Netflix“You Are So Not Invited to My Bat Mitzvah” proves, as other movies and shows have before it, that when a bar or bat mitzvah is depicted onscreen, it can often be a savvy vessel for exploring the funny, strange or even traumatic transition from childhood to teenagedom.“Figuring out, who am I, who I want to be — such a Jewish experience,” Cohen, who uses they/them pronouns, told me in an interview, adding that it’s “also just a human experience.”“We don’t all have a bat mitzvah,” she continued, “but we all feel awkward when we have to step out in front of our friends and family and try not to make a mistake.”At the same time, Hollywood can get too caught up in the lavish spectacle of these affairs, with depictions that sap them of their cultural or emotional significance in favor of gags about the superficiality of the post-service party. The spoiled bar or bat mitzvah boy or girl is a trope that comes up repeatedly. In a 2000 “Sex and the City” episode, Samantha (Kim Cattrall) faces off against a rich brat (Kat Dennings) who is hiring a publicist for her bat mitzvah party. “I want it all, I want it now, and I want you to get it for me,” the girl says.During a 2012 episode of “30 Rock,” Tracy (Tracy Morgan) and Jenna (Jane Krakowski) humiliate themselves at a bar mitzvah playing Transformer robots for the demanding son of their accountant. The films “Starsky & Hutch” (2004) and “Safe Men” (1998) found gags in criminals attending bat and bar mitzvahs.From left, Jami Gertz, Jeremy Piven and Daryl Sabara in “Keeping Up With the Steins” (2006). Financial anxiety is a common theme of bar or bat mitzvah movies.Eric McCandless/Miramax FilmsThe b’nai mitzvah party gone wild — celebrating a bat or bar mitzvah — is another staple of the genre. “Keeping Up With the Steins” (2006), directed by Scott Marshall, starts from a place of absurdity with an outlandish “Titanic” movie-themed soirée attended by the Fiedler family. The dad, an “Entourage”-era Jeremy Piven essentially playing a flavor of Ari Gold, does all he can to match the grandiosity of that event for his son. In the process he reconnects with his own father (Garry Marshall), a reunion facilitated by his child (Daryl Sabara). It’s a thin narrative that uses the hook of the over-the-top bar mitzvah for a trite family tale.Financial anxiety is a feature of similar narratives, and it is possible to find nuance in the strange mix of faith and capitalism that b’nai mitzvah spur in Jewish American culture — mostly when the writers, directors and performers lean into what a confusing time it is for the teenagers for whom these ceremonies are ostensibly intended.Sami Rappoport as Becca, a popular girl entering her bat mitzvah reception on “Pen15.” The episode focuses on a gentile’s experience of the event. HuluThe Hulu series “Pen15” is a masterpiece of discomfort — augmented by the fact that its creators and stars, Anna Konkle and Maya Erskine, are 30-something actors playing 13-year-olds in middle school. Their characters are not Jewish, but the gawky unease they cultivate is on full display during the episode chronicling the bat mitzvah of a popular girl named Becca (Sami Rappoport), a moment that coincides with their class learning about the Holocaust. The lesson about genocide makes Anna (Konkle) contemplate the very existence of God. The occasion brings on a different kind of unease for Maya (Erskine), who is desperate to impress Becca with a fancy gift despite the fact that it’s a stretch for her parents. “Pen15,” which takes place in the early 2000s, nails the cringe-worthy elements of bat mitzvah-going, whether it’s Becca entering her party belting a song from “Damn Yankees” or the mechanical slow dancing. But at the same time it explores how fraught the tradition can be when it comes to social class.Still, the episode focuses on an outsider’s experience of a bat mitzvah, not an actual Jew’s. So does Cooper Raiff’s 2022 directorial effort, “Cha Cha Real Smooth,” in which he also stars. It’s a bar mitzvah movie with thin acknowledgment of Jewish tradition. Raiff’s aimless college grad Andrew — who is not Jewish — gets a job as a party starter for b’nai mitzvah receptions. It’s a good backdrop for Andrew’s own insecurities; he knows just as little about life as the much younger people around him. But it’s also just that: a backdrop.Cooper Raiff, director and star of “Cha Cha Real Smooth,” another view of the event from an outsider’s perspective. Apple TV+To find a movie that incorporates a bar mitzvah in the fabric of its Jewishness, look to the Coen brothers’ “A Serious Man” (2009), a chronicle of Larry Gopnik (Michael Stuhlbarg), a professor in 1967 Minnesota. Larry’s son Danny (Aaron Wolff) gets extremely stoned before his bar mitzvah. It’s the kind of stupid thing a little twerp would do, but the disorienting way the Coens film this sequence — with fuzzy visuals and oblique angles — feels like an introduction to a faith of questioning that can itself be disorienting, especially as Danny meets with the aged Rabbi Marshak (Alan Mandell), who starts reciting Jefferson Airplane’s “Somebody to Love” as a prayer.For an even bleaker depiction, there’s Todd Solondz’s “Life During Wartime” (2010), where the bar mitzvah of Timmy (Dylan Riley Snyder) coincides with horrific realizations about his father. Timmy’s perception of becoming a man, as he describes in a speech he’s writing for the occasion, is standing up for yourself even if it means getting “just plain tortured.” Solondz’s view is clear: Growing up is pain. There’s less of an engagement with the nature of Judaism here than there is in “A Serious Man,” but Solondz scores sequences with Avinu Malkeinu, a Jewish prayer of repentance usually uttered on the High Holy Days, which serves as a reminder of the human failure on which the director fixates.Aaron Wolff, center, as a bar mitzvah boy who gets stoned before going on the bimah in “A Serious Man.”Wilson Webb/Focus FeaturesIt’s hard to get darker than what Solondz delivers, but even some of the cheeriest b’nai mitzvah stories can have a touch of the grim. In “You Are So Not Invited to My Bat Mitzvah,” Stacy lashes out at Lydia over a boy, spreading gossip about her and making an embarrassing video that ends up being played on Lydia’s big night. Her petulant acts may seem minor but they have real stakes, as anyone who has ever been betrayed by a friend knows. “Real kids are complicated and messy,” Cohen told me.And it’s true. I have warmly nostalgic memories of my own bat mitzvah that are mixed up with more complicated feelings. I think about a connection to faith that I let lapse and relatives who are no longer alive. I think about the friends with whom I have lost touch. I remember the world in front of me and it being exciting but also so scary. That’s the thematic potential in a b’nai mitzvah, and it’s nice to see that occasionally filmmakers get it right. More
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‘Bottoms’ and the Tricky Tone of a Horror-Indie-Drama-Action-Teen-Sex Comedy
The director Emma Seligman took a big leap from her buzzy feature debut, “Shiva Baby.” But this is the film she wanted to make all along.In “Bottoms,” a pair of teenagers start a fight club in their high school gym. The twist: The pugilists are lesbians, and they are whaling on each other — in the guise of self-defense — as a way to attract the hottest cheerleaders. (It’s a satire on many levels.)The writer-director Emma Seligman had the idea and sold the script — to Elizabeth Banks’s production company — even before her feature debut, “Shiva Baby,” put her on the indie filmmaker map in 2021.“I really love teen adventure movies,” Seligman said in a phone interview, “and giving queer kids the chance to be in that story.”Seligman, 28, grew up in Toronto in a family of film buffs. “Everyone here is always just talking about movies,” she said. By 10, she was a judge at a children’s film festival; later she got involved with the Toronto International Film Festival. She studied the subject at New York University, where she met the two stars of “Bottoms” — Rachel Sennott (who co-wrote the film) and Ayo Edebiri, a breakout actress from “The Bear.” (Seligman has an eye for talent: “Bottoms” also features Nicholas Galitzine, of “Red, White & Royal Blue,” as a quarterback boyfriend; and the former N.F.L. player Marshawn Lynch as a teacher with questionable methods.)“Shiva Baby,” about a young woman who encounters her sugar daddy at a shiva, was based on Seligman’s experience of Jewish life and on her college milieu. “I went on one sugar date,” she said. “Not everyone was doing it, but so many people were doing it to the point where it was so normal.” (It wasn’t ultimately her thing.) “Bottoms,” though it exists in a heightened world, is also personal. “It’s just wanting to see yourself,” said Seligman, who is gay. As she recalled Banks telling her: “You can’t underestimate how much young people want to see themselves onscreen.”These are edited excerpts from the conversation.“Shiva Baby” had a small cast and essentially one set. “Bottoms” has an ensemble and multiple locations. How did you prepare to scale up?The jump was quite challenging. I knew there were going to be a million and one lessons I was going to have to learn, but I just didn’t know what they were going to be. It’s like knowing you’re about to get hazed but not knowing how.I tried to have conversations with as many directors as I could to get their advice — Adam McKay, Greg Berlanti, who directed “Love, Simon,” and Atom Egoyan. It was helpful, but most of them were like, “You’re not going to know until you’re just doing it.” I went to [Elizabeth Banks’s] house before we shot, and we talked about costume and hair and improv — it wasn’t her giving didactic advice. It was me asking: “As a director, how do you prepare to do this?” And everyone was like, stop asking questions. Stop getting in your head.Edebiri and Sennott in “Bottoms.” Seligman said she “wanted to satirize the way female friendship is often shoved down our throats onscreen with teen girls.”via Orion Pictures IncRachel Sennott has starred in both your films. What clicked with you two?Neither of us were in the industry or came from industry families. Her level of ambition and organization and her intense work ethic was really inspiring. It’s a wild thing to be like, “I’m going to devote all this time to writing two screenplays, when there’s nothing in the world telling me that this will work out.” Her energy was: “It’s not crazy, we will do it, and we will make a living.” It’s rare for someone to want to see you succeed as much as they want themselves to succeed.How did you envision Ayo Edebiri in this role?I met Ayo at a party before I met Rachel. I had a vague idea of “Bottoms” in my head. And I was like, “Oh, if I ever made that high school movie, that girl would be so funny in it.” It’s been really incredible to watch her grow into the success that she’s become. It’s not a surprise at all to me, but I feel a little bit like I have street cred because I’m like, “Yeah, I knew.” She’s just so funny. We finished “Bottoms,” and “The Bear” came out a month later and her world changed.Where did you want to focus your satire?The way queer teen characters are always so innocent in teen movies. Whether they’re being traumatized or finding love, they’re so sweet and often don’t have any sexual thoughts at all — or if they do, they’re not expressing it, or they’re not talking in a vulgar way. And we also wanted to satirize the way female friendship is often shoved down our throats onscreen with teen girls — characters that are like, “I love you, queen! You’re the best thing ever!” We wanted to make fun of that.“Bottoms” builds on a lot of the teen movie canon, starting with “Heathers.” What else did you use as a reference?We pulled from that era of the ’90s — I guess “Heathers” is the ’80s — but that kind of female, campy, driven, high school and murder [comedy].“Bring It On” was a big reference. That movie strikes such a beautiful tone of campiness while caring deeply about the characters — it’s right on the edge. “Pen15,” definitely — looking at the show about this beautiful female friendship, that was so ridiculous and stupid at the same time, and so relatable. That came out right around when we started writing. “Wet Hot American Summer” was a big one. There’s not murder in that. But they do get addicted to heroin for the day. And Liz is in it, which is also great.How did you find the right tone?It took a long time to figure that out. I don’t think Rachel and I originally intended to have the audience care about the characters that much. We actually felt like in female comedy, there’s too much stress on, “Care about these girls” and “Care about the friendship.” We wanted to give the female characters a chance to be so [terrible] that you’re not supposed to care about them at all. But I think over the years, as we would get notes from our producers or the studio, we let up a little bit.I really think tone is always the trickiest thing to master. And I would love one day to do a movie that’s just one genre, to see if it’s any easier than a horror-indie-dramedy-action-teen-sex-comedy, or whatever we did. More
- in Movies
‘Vacation Friends 2’ Review: Last Resort
Sitcom-grade setups and predictable punchlines make a chore of this blithe, freewheeling comedy sequel.The 2021 comedy “Vacation Friends” had a premise so thin that it scarcely counts as high concept: One couple befriends another couple on holiday, only to realize that the other couple is a little too wild. It worked, just barely, because the couples were played by Lil Rel Howery, Yvonne Orji, Meredith Hagner and John Cena, all of them funny and charming with bubbly, upbeat chemistry. The story of clashing personalities and adventures gone wrong was dull and uninspired, but the cast members, clearly enjoying themselves, kept things brisk and mildly entertaining.That cast returns for “Vacation Friends 2,” a perfunctory sequel with an even duller story. (The first movie’s director, Clay Tarver, returns too.) Howery and Orji, as the timid newlyweds Marcus and Emily, are off on another holiday with their kooky friends Ron and Kyla (Cena and Hagner), this time at a luxury resort in the Caribbean. They’re joined by Kyla’s father, Reese (Steve Buscemi), a squirrelly man with a criminal past whose approval Ron desperately seeks, and by Yeon (Ronny Chieng), a testy owner of the resort, with whom Marcus hopes to land a business deal.Marcus’s efforts to woo Yeon, as well as Ron’s campaign to win over his skeptical father-in-law, are nothing more than glorified sitcom plots, and as the harried friends careen across the resort through a series of comical mishaps, the movie has the feel of a TV rerun. More compelling are the too-rare moments of plotless leisure, when the charismatic holidaymakers guzzle rum, snort cocaine and just riff. Cena manages to squeeze a very funny bit from the action of picking up a brunch menu — no artificial dramatic stakes necessary.Vacation Friends 2Rated R for strong language, sexual content, action violence, drug use and more holiday debauchery. Running time: 1 hour 45 minutes. Watch on Hulu. More
- in Theater
Léa Garcia, Who Raised Black Actors’ Profile in Brazil, Dies at 90
Best known internationally for her breakout performance in the 1959 film “Black Orpheus,” she challenged racial stereotypes over a seven-decade career.Léa Garcia, a pioneering actress who brought new visibility and respect to Black actors in Brazil after her breakout performance in the Academy Award-winning 1959 film “Black Orpheus,” died on Aug. 15 in Gramado, a mountain resort town in southern Brazil. She was 90.Her death, of cardiac complications, was confirmed by her family on her Instagram account. At her death, in a hospital, she was in Gramado to receive a lifetime achievement award at that town’s film festival. Her son Marcelo Garcia, who was also her manager, accepted the honor in her place.Over a prolific career that began in the 1950s, Ms. Garcia amassed more than 100 credits in theater, film and television, from her early years with an experimental Black theater group to her later prominence on television productions, like the popular 1976 telenovela “Escrava Isaura” (“Isaura: Slave Girl”), based on an 1875 novel by the abolitionist writer Bernardo Guimarães; it was seen in more than 80 countries.Recounting her career in a 2022 interview with the Brazilian magazine Ela, Ms. Garcia said she felt blessed by her success. “I often say that the gods embraced me,” she said. “Things always arrived for me without me running after them.”Still, laboring to change racial perceptions in the world of film and television involved tremendous perseverance and discipline. “Much more was demanded of us,” she told Ela. “We had to arrive with the text on the tip of our tongue, always smelling good and elegant. Others could be wrong. We could not. We could play subservient characters, but we needed to show that we ourselves were not.”Léa Lucas Garcia de Aguiar was born on March 11, 1933, in Rio de Janeiro. Growing up, she was drawn to literature and aspired to be a writer. That changed one day in 1950.“I was on my way to pick up my grandmother to take her to the movies,” she recalled, “when someone came up to me and asked, ‘Would you like to work in theater?’”The voice belonged to Abdias do Nascimento, the writer, artist and Pan-Africanist activist who created Teatro Experimental do Negro (TEN), a Rio-based group that aimed to promote the appreciation of Afro-Brazilian culture. (The two would become a couple and had two children together.) Ms. Garcia made her stage debut in 1952 in Mr. Nascimento’s play “Rapsódia Negra” (“Black Rhapsody”).As the decade drew to a close, she took her career to a new level of international recognition when she was cast in the French director Marcel Camus’s “Black Orpheus,” a retelling of the Greek myth of Orpheus and Eurydice adapted to the frenzy of Rio’s carnival and featuring music by Antônio Carlos Jobim and Luiz Bonfá. It won the Oscar for best foreign-language film in 1960.With its lush exuberance, the film was anything but classical in feel. “It really is not the two lovers that are the focus of interest in this film; it is the music, the movement, the storm of color,” Bosley Crowther wrote in a review in The New York Times.Even in her 80s, Ms. Garcia remained productive. Adriano DamasEven in a supporting role, Ms. Garcia showed an ability to beguile. “Léa Garcia,” Mr. Crowther wrote, “is especially provoking as the loose-limbed cousin of the soft Eurydice.”Among her other notable films was “Ganga Zumba,” the debut feature by Carlos Diegues, a pioneer in Brazil’s reformist Cinema Novo movement, which was made in 1963 but not released until 1972. She brought power and complexity to the character of Cipriana, the lover of the title character, who escapes a sugar plantation in the 17th century to lead Quilombo dos Palmares, a haven for other fugitives from slavery.“It’s not shameful to be a slave,” Ms. Garcia often said, according to family members. “It’s shameful to be a colonizer.”The pace of her career scarcely slowed over the years; she spent decades as a staple of Brazilian soap operas like “O Clone” (“The Clone”), “Anjo Mau” (“Evil Angel”), “Xica da Silva” and “Marina,” and was seen on other TV series as well.Even in her 80s, Ms. Garcia remained productive. She starred in the drama series “Baile de Máscaras” in 2019 and returned to the stage in 2022 in the play “A Vida Não é Justa” (“Life Is Not Fair”), in which she played three characters and explored themes of diversity, equality, justice and relationships.Complete information on her survivors was not immediately available.In the Ela interview, Ms. Garcia discussed her hopes for her great-great-granddaughter, who was 7 months old at the time. “I hope for a fair and egalitarian country that respects diversities,” she said. “That’s what I want, and much more.”Julia Vargas Jones contributed reporting from São Paulo, Brazil More
