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      SAG Award Winners: Updating List

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      Lily Gladstone (“Killers of the Flower Moon”) and Emma Stone (“Poor Things”) are competing in what could be a preview of the Oscars.The 30th annual Screen Actors Guild Awards are being handed out tonight live on Netflix. Will Lily Gladstone prevail for “Killers of the Flower Moon” or is Emma Stone of “Poor Things” on a roll after the BAFTAs last weekend? Will “Oppenheimer” take the top prize as it did at the Directors Guild earlier this month? These and other questions, which could have implications for the Oscars, will be answered when the ceremony gets underway at 8 p.m. Eastern time (5 p.m. Pacific) at the Shrine Auditorium in Los Angeles. Here’s more information on how to watch. We’ll be updating the winners as they’re announced. More

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      Rob Reiner on ‘the Greatest Single Performance’ in U.S. Cinema

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      The filmmaker says it’s one of Marlon Brando’s: “To this day I don’t know that there’s as good a performance as that.”Rob Reiner was well aware that the Christian nationalist movement had achieved considerable political clout.But he didn’t realize just how much until he started producing the documentary “God & Country.”Inspired by Katherine Stewart’s book “The Power Worshippers,” the film gives voice to prominent Christian leaders concerned about not only what the movement is doing to the United States, but also to Christianity itself.“We saw the success that they had in being able to overturn Roe v. Wade in promoting very conservative judges that got onto the Supreme Court,” said Reiner, 76, who is adamant that the film is not meant to be an attack on Christian communities in any way.In a video call from Los Angeles, Reiner, who will begin shooting a sequel to “This Is Spinal Tap” in March, reminisced about his movies “Stand by Me” and “The Princess Bride,” and spoke about why he can never get too much of “It’s a Wonderful Life,” blues guitarists and Marlon Brando. These are edited excerpts from the conversation.1My Wife and KidsThat’s the most important to me. There’s that joke, “Nobody on their death bed ever said, ‘I should have spent more time at the office.’” Nobody says that.2My DadI was lucky to have a man in my life who conducted his career in a way that was very honorable and decent. I saw how he treated other people, and I saw how he handled his fame. People have always asked me, “Did he sit down and give you advice?” And I said, “No, he never gave me any advice. He just lived a certain way, and that was the best advice I could have gotten.”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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      At the Berlin Film Festival, Reconsidering the Power of Doubt

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      At a festival that is having an identity crisis, some of the best movies suggest that lacking certainty isn’t always a bad thing.Doubt gets a bad rap. Doubt is fussy and forgetful, whereas certainty strides around, all action and achievement. As a film critic, swift, declarative certainty is a quality I’ve learned to aspire to. And at times, to fake.But this year’s Berlin International Film Festival, which runs through Sunday, has been buffeted outside and in by political turbulence and organizational shake-ups. And so perhaps because the event itself is experiencing such uncertain times, the films made me reconsider — actually, doubt — my dismissive stance on doubt.Doubt is etched on Cillian Murphy’s hollow, striking features in Tim Mielants’s grave and moving “Small Things Like These,” which opened the festival last week. Based on a novella by Claire Keegan — whose “The Quiet Girl” was adapted into an Oscar-nominated feature in 2022 — the film is set in 1985 in the town of New Ross, Ireland, which is home to one of the Magdalene laundries, the infamously abusive church-run institutions to which pregnant, unwed women and girls were sent in shame to have their babies, who were then taken from them. In this case, the chief perpetrator of the abuse is Sister Mary (a frostbitten Emily Watson), who has clearly never had a doubt in her life. But the movie is really about Murphy’s quietly anguished coal deliveryman, Bill, and his deepening crisis of conscience.It takes considerable bravery for Bill to go against the unspoken rules of a community conspiring in silence. But as a man and a family patriarch, it is an avenue available to him. In Maryam Moghadam and Behtash Sanaeeha’s sweet and funny “My Favourite Cake,” the options are different for the Tehran-based widow Mahin (Lily Farhadpour), even if her spirit, too, is chafing against an oppressive religious social order. Her instantaneous love connection with a similarly lonely taxi driver challenges Iranian conventions in this glowingly performed rom-com that turns unnecessarily dark late on, when Mahin is punished for the act of gentle rebellion that the movie otherwise celebrates.Lily Farhadpour, left, in “My Favorite Cake,” directed by Maryam Moghadam and Behtash Sanaeeha.Hamid JanipourFor a more satisfying, if low-key, depiction of lonely social outcasts finding a spark of solace in each other, there is the Japanese director Sho Miyake’s lovely “All The Long Nights.” Mone Kamishiraishi plays Misa, whose debilitating, personality-altering PMS makes adhering to Japan’s rigid codes of politeness mortifyingly difficult. But the friendship she strikes up with a co-worker who is plagued with panic attacks becomes a source of mutual support: It will likely be one of the most touching platonic relationships of the moviegoing year.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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      How a Domestic Scene Creates Dread in ‘The Zone of Interest’

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      The director Jonathan Glazer narrates a sequence from his Holocaust drama.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.This sequence from “The Zone of Interest,” which is nominated for five Academy Awards, including best picture, observes a weekday at the home of Rudolf Höss, the commandant of the concentration camp Auschwitz. That home is positioned directly next door to the camp. In the kitchen, Rudolf’s wife, Hedwig, sits and gossips with friends. In another room, Rudolf meets with the engineers of a crematory. But the scene primarily follows Aniela, a young Polish girl who works in the home, preparing a glass of schnapps to celebrate the commandant’s birthday, and delivering boots to him during his meeting.Discussing the scene, the film’s director, Jonathan Glazer, said that he chose to follow Aniela, rather than the main characters, “because it’s really one of the only times in the film where we can see and connect and spend time with, essentially, a victim of these atrocities.”He explained that he chose to use multiple cameras to shoot the scene, and the film overall, because “I really didn’t want to have sort of the artificial construction of a conventional film to tell this story. Rather, to view them anthropologically, as if we were a fly on the wall.”Read the “Zone of Interest” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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      How to Watch the 2024 SAG Awards: Date, Time and Streaming

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      The awards, which are streaming live on Netflix for the first time, will offer a preview of some key Oscars races. Barbra Streisand will be on hand, too.Cord-cutters rejoice: Normally, watching an awards show involves subscribing to a live TV service (or remembering which of your email addresses you haven’t already used for a free trial).But on Saturday, for the first time, Netflix will be streaming the annual Screen Actors Guild Awards, potentially bringing them to a much wider audience.The 15 awards, which are voted on by actors and other performers who belong to the SAG-AFTRA union, honor the best film and television performances from the past year. They can be a bellwether for the Oscars, happening this year on March 10. (Since 1996, 83 of the 112 stars and films that won Oscars for best picture or acting first won a SAG Award.)This year’s ceremony is shaping up to be a “Barbenheimer” rematch: The two summer blockbusters — “Oppenheimer,” Christopher Nolan’s biopic about the physicist known as the father of the atomic bomb, and “Barbie,” Greta Gerwig’s unique spin on the Mattel doll — each picked up a pack-leading four nominations and will be competing for the guild’s top prize, best ensemble.There’s also intrigue in the best film actress race: Lily Gladstone, who plays an Osage woman married to a white man involved in a murderous conspiracy in “Killers of the Flower Moon,” has blazed a trail through awards season, taking home honors from the Golden Globes, the National Board of Review and the New York Film Critics Circle. But Emma Stone, who plays a grown woman with the mind of a child in the “Frankenstein”-inspired black comedy “Poor Things,” came out on top at the BAFTAs and the Critics Choice Awards (and won her own Globe in the musical or comedy category).Now, on Saturday night, we’ll get our strongest indication yet as to which way academy voters are leaning. We’ll also get an appearance from Barbra Streisand. Here’s how to watch.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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      In This Heroes’ Tale, Real People Risk Their Lives to Get to Europe

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      Matteo Garrone’s Oscar-nominated feature “Io Capitano” dramatizes the harrowing journeys made by thousands of Africans each month looking for a better life in Europe.At the end of “Io Capitano” (“I Captain”), Matteo Garrone’s harrowing contender for best international film at next month’s Academy Awards, a map tracks the journey taken by the film’s two teenage protagonists: over 3,500 miles from Dakar, Senegal, to Sicily, via the scorching Nigerien desert, horrific Libyan prisons and a nerve-racking Mediterranean crossing aboard a rickety vessel.Such perilous voyages, taken each year by countless Africans seeking a new life in Europe, is “one of the great dramas of our times,” Garrone said in a recent interview, and “Io Capitano” is framed as an epic, modern-day Odyssey, with protagonists no less valiant than Homer’s hero.“It’s a journey that’s an archetype so that anyone can identify with it,” said Garrone, who is best known to international audiences for the hyper-realistic 2008 drama “Gomorrah” and his dark and fantastical “Pinocchio” (2019).“Io Capitano” is also, he said, a “document of contemporary history.” This month alone, over 2,000 people reached European shores by crossing the Mediterranean, while at least 74 died, bringing the number of people who have gone missing in that sea in the last decade to more than 29,000, according to the International Organization for Migration, a United Nations agency.Many Europeans learn of these landings, and deaths, from short news segments, often accompanied by clips of lawmakers pledging to stop illegal migration. Garrone’s film, which won the Silver Lion for best directing at last year’s Venice Film Festival, goes beyond the statistics with a plot based on stories of real people crossing the Mediterranean.Garrone said that the migrants’ stories he heard called to mind the likes of Robert Louis Stevenson and Joseph Conrad.via Cohen Media GroupWe 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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      ‘Mea Culpa’ Review: Who’s Really to Blame, and for What?

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      The tagline of Tyler Perry’s new movie is “everyone’s guilty of something,” but the responsibility for this willfully steamy, decidedly silly thriller is all his.Is creating a guilty pleasure something a director can — or even should — aim for? That’s one of the questions wafting over the writer-director Tyler Perry’s willfully steamy thriller “Mea Culpa.”Cast for sizzle, the movie stars the singer-actor Kelly Rowland as Mea Harper, a Chicago defense attorney, and Trevante Rhodes (“Moonlight”) as a successful painter accused of killing his girlfriend. Her body has yet to been found, but there were skull fragments in one of his paintings.The assistant district attorney Ray Hawthorne (Nick Sagar) hopes to leverage the case for a mayoral run. He’s also Mea’s brother-in-law. In the firm clutches of the matriarch Azalia (Kerry O’Malley), the Hawthornes are an ambitious clan who appear to have borrowed much of their dialogue from the daytime soaps of yore. Among Mea’s reasons for taking this case is the Hawthorne family’s condescension and the excessive deference her husband, Kal, (Sean Sagar) shows his mother. (In case the family isn’t close enough, the actors Sean and Nick Sagar are brothers).Rowland commits to the thankless task of playing a smart woman gone stupid. Rhodes can’t do much with Zyair, whose affect is more flat than seductive. Or, as Mea’s private investigator and friend Jimmy (RonReaco Lee, a bright spot) quips: Zyair’s either a great liar or a psychopath.While the movie teases with its “is he or isn’t he a murderer?” quandary, the soundtrack boasts killer tunes, including Isaac Hayes’s cover of “Walk on By,” playing like a caution the first time Mea visits Zyair’s loft. The warning goes unheeded, and the two embark on a possibly dangerous and decidedly silly liaison, one that taps into spousal angst and features plenty of soft-core intrigue.Mea CulpaRated R for strong sexual content, graphic nudity, language, some violence and drug use. Running time: 2 hours. Watch on Netflix. More