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Not to offend Larry David by saying it as late as Jan. 7, but: Happy New Year!

The turning of the calendar also signals that Phase I of awards season is coming to a close. With the Golden Globes and a big weekend of parties on the horizon, I’m proud to share our last issue — and my last letter from the editor — until after the Oscar nominations.

I’ll be back in February to unveil our three issues in Phase II. And be sure to keep an eye out Friday for Glenn Whipp’s newsletter, which will have more on our Jan. 8 cover subject, George Clooney.

Digital cover story: ‘Bugonia’

(JSquared Photography / For The Times)

Fans of Yorgos Lanthimos’ misanthropic comedies will forgive the Michael Haneke pun in my coverline for Michael Ordoña’s story on “Bugonia,” starring Emma Stone as a healthcare CEO and Jesse Plemons as the conspiracy theorist who believes she’s an alien invader. And not simply because Haneke’s own brand of bleak absurdism seems to have rubbed off on Lanthimos. Funny games — well, ‘silly games’ — are at the core of Lanthimos’ distinct creative process.

“It makes it light,” the filmmaker explained. “You don’t take yourself too seriously. You don’t take the material seriously. You’re gargling and doing lines, whatever. It’s a way of the actors getting the dialogue in them in an unconscious way, not fixed with a kind of intellectual baggage, so it’s freer and it has more possibilities. And they feel comfortable with each other.”

Small roles, big performances

(Los Angeles Times photo illustration; photos by Dania Maxwell / For The Times; Warner Bros. Pictures; Tatum Mangus)

Envelope copy chief Blake Hennon sent up a cheer when Lisa Rosen’s recurring spotlight on the brilliant-but-unheralded turns that we love in movies came across his desk, and rightly so. In a flash, a film can make an indelible impression, and it’s often thanks to those who fall outside the usual pundit predictions.

This year’s participants include real-life siblings Jacobi and Noah Jupe (“Hamnet”), Paul Thomas Anderson stalwart April Grace (“One Battle After Another”) and one-scene wonder Hadley Robinson (“The History of Sound”).

The shot of the season

Thanks to contributor Daron James, the back page of every Envelope features an unforgettable frame from a film or TV series, accompanied by an explanation from the artists behind it. And while all are striking, I’m glad to say we’re ending Phase I on my favorite.

Perhaps it’s that “Breathless” was one of the first movies that made me fall in love with movies. Perhaps it’s Richard Linklater’s courageous decision to have his protagonist wear dark sunglasses throughout the movie. Perhaps it’s the charm of actors Guillaume Marbeck and Zoey Deutch. It’s probably all of the above. But whatever the reason, the final shot of “Nouvelle Vague” is, for my money, the best single shot I saw in 2025.

More stories from our Jan. 8 issue

Cape Town, South Africa – Lucy Campbell, with her long grey dreadlocks, stands animated in front of the thick stone walls of the Castle of Good Hope in Cape Town’s city centre, her small frame accentuated by their towering height.

The 65-year-old activist-turned-historian has a message for the 10 American students who have come to hear her version of the city’s history. Dressed in a black hoodie and blue jeans, Campbell is well-spoken but shows her disdain for Cape Town’s colonial past, often erupting in harsh language for those she blames for its consequences.

“This castle speaks to the first economic explosion in Cape Town,” she says at the beginning of her five-stop tour of the city. “It’s an architectural crime scene.”

Campbell refuses to enter the 17th-century castle, which she sees as a symbol of the violence and dispossession that the colonial era brought to South Africa’s second biggest city.

“That is where they used to hang people,” she says, pointing to one of the castle’s five bastions. It was built by the settlers of the Dutch East India Company, commonly known by its Dutch acronym, VOC. The VOC built the fortress as part of its efforts to establish a refreshment post between the Netherlands and other trade destinations in the East. The castle is now run by the South African military.

Campbell, an accredited tour guide, has been giving privately run tours like this for 17 years, starting at the castle and offering a scathing critique of the city’s monuments and museums for dozens of people each year.

She says most official tributes, such as the Slave Memorial erected in 2008 in Church Square, fail to do justice to the enslaved people who contributed to the construction of Cape Town and often neglect to acknowledge the Indigenous population that lived here for hundreds of years before the Dutch arrived in 1652, displacing them and introducing slavery to the Cape.

Campbell can still see clear echoes in the city of the “genocide” and dispossession of the Khoi people, the Indigenous herders who lived on this land for thousands of years. She remembers her mother’s stories about how this history personally affected her family, who are descendants of the famously wealthy Hessequa, a subset of the Khoi. The Hessequa lost their land and livestock to the Dutch.

Known as “the people of the trees”, the Hessequa lived for centuries in the farming area now known as Swellendam, about 220km (137 miles) east of Cape Town. The arrival of European settlers transformed them from land and cattle owners to peasant workers employed by white people, conditions that in many places persist to this day.

Land ownership in Cape Town and South Africa as a whole remains overwhelmingly in the hands of the white minority. Rights groups have also accused white farmers of sometimes abusing predominantly mixed-race agricultural workers and evicting them on a whim, a practice that has carried on since the colonial era.

“Many of them have worked there for generations, and they are just being evicted,” Campbell says. “There’s no pension. There’s nothing. So the ailments of the past [continue].”

The coloniality of the museum

With a resume that includes posts ranging from trade union administrator and mechanic’s assistant to historian, Campbell started her tours after working at the Groot Constantia estate of the VOC colonial Governor Simon van der Stel, now a museum. This is where she got her first taste for history.

When she started working on the estate as an information officer in 1998, she found that the history of enslaved and Indigenous people was largely erased on the property, including the “tot” system, the use of wine as payments to workers that dates back centuries and was still in use on some Cape Town farms years after the fall of apartheid in 1994.

Alarmed by this erasure of her ancestors at the estate, Campbell resigned and pursued a degree in history. Armed with a postgraduate degree specialising in the history of slavery in the Cape, Campbell established Transcending History Tours in 2008.

Her academic research uncovered the inherently colonial nature of museums globally. She discovered that human remains were held in museums, universities and in private ownership, especially in Europe. The South African Museum, founded in 1825, housed human remains that were used in studies that sought to reinforce racist ideologies, such as seeking to prove that non-Europeans were racially inferior. Even though these studies have been halted, the remains continued to be housed by these institutions.

Campbell would prefer that the museums she tours be decentralised and relocated to the Cape Flats, a mainly nonwhite working-class area where Campbell and most descendants of the Khoi and enslaved people live. She argues this would make the museums more accessible to these communities, bringing them closer to their personal histories and demonstrating that their current difficult living conditions and marginalisation are not natural or inevitable, but rather the result of a cruel past.

“At night, this place is filled with homeless people,” she says on a sunny morning in September as the tour leaves the castle.

A few steps away, past two lions perched on pillars at the castle’s entrance and a moat filled with fish and pondweed, a barefoot man is asleep on the sidewalk while a woman in a bra and camouflage pants scrounges for food in the shrubs. Like most of the unhoused on the wealthy city’s streets, they are people of colour.

The tour passes the Grand Parade, the city’s public square and oldest urban open space, where the mud and wood predecessor to the existing castle stood. For many years, it served as a training ground for the colonial garrison before becoming a marketplace, surrounded by striking buildings, such as the Edwardian City Hall.

The parade’s most famous moment in modern South African history was as the setting of Nelson Mandela’s first public speech after his release from prison in 1990. Today, traders still gather here to sell everything from brightly coloured dashikis (colourful, traditional garments) to kitchen electronics.

A ‘trailblazer’

A few blocks away, the group stops to look at a plaque in St George’s Mall dedicated to one of Campbell’s heroes, Krotoa, a Khoi woman known as the progenitor of Cape Town’s mixed-race population after her marriage to a Danish surgeon.

The plaque dedicated to her in this busy modern commercial area feels misplaced and superficial to Campbell, who says it fails to celebrate the woman’s historical significance. Campbell also dislikes the commonly used image of Krotoa on the plaque, which she says is fabricated.

“The Krotoa that I know, she’s a trailblazer. She’s an interpreter. She’s a negotiator,” Campbell says.

The niece of the Khoi chief Autshumato, Krotoa joined the household of the first Dutch governor in the Cape, Jan van Riebeeck, at about the age of 12. As one of the first Indigenous interpreters, she became a mediator between the Dutch and the Khoi, playing a key role in the cattle trade, which was vital to the settlers’ survival at the Cape. She also negotiated in the conflict that arose between locals and the settlers.

Krotoa’s influence in van Riebeeck’s government eventually led to her becoming the first Indigenous person to be baptised as a Christian in 1662 and adopting the name Eva. She married a Danish soldier, who was later appointed as the VOC surgeon, Pieter van Meerhof, in 1664, and the couple became the Cape’s first recorded interracial marriage.

In the end, though, Krotoa was a controversial figure: Khoi leaders criticised her for adopting colonial ways, and both they and Dutch officials accused her of being a spy for the other side.

“She went right into the kitchens of the Dutch,” Campbell says. “She used to tell them, ‘I know you. I know who you are. You can’t do anything for yourself. Slaves have to do everything for you.’”

Campbell says Krotoa was instrumental as a mediator in the first Khoi-Dutch war, which lasted from 1659 to 1660 and was sparked by a campaign led by local Khoi leader Nommoa, or Doman, to reclaim the Cape Peninsula. The Dutch were victorious against the two Khoi groups, the Gorinhaiqua and the Gorachouqua, and expelled them from the peninsula to mountain outposts about 70km (44 miles) away.

Asked what she would consider a fitting memorial for Krotoa, Campbell says: “Monuments are Eurocentric and hierarchic. Where her memorial should be, I am not sure. What I know is that her story and her memory should be a popular memory and part of our learning in schools and in other tertiary learning. She and her Danish husband van Meerhof were sent to Robben Island. She also spent lots of time at the first castle, which is today’s Golden Acre [shopping mall], and her so-called plaque in Castle Street is a humiliation of the contributions she made in resisting the colony in favour of her people.”

Profits over people

Around the corner from Krotoa’s memorial in Castle Street, Campbell stops at another VOC landmark – the cobbled walkway featuring the VOC’s bronze emblem framed by an outline of the castle’s five ramparts.

“I want you to see how the VOC is embedded right in the fabric of the city,” she says, pointing to the insignia emblazoned in the street.

Then she directs her tour’s attention to nearby skyscrapers, which she views as symbols of wealth rooted in VOC exploitation.

As she speaks, workers on their lunch breaks walk by while others sell beaded jewellery, paintings, leather handbags and other wares in stalls dotted along the mall. Most of these workers live in overcrowded townships far outside the city, which is famed for its French Riviera-like lifestyle and has often been voted one of the world’s top tourist destinations.

“For me, it’s important to speak of that company, the first company that came here,” Campbell says, explaining the origin of capitalism in the region.

“It comes from there – profits before people. It comes from history. … The VOC is alive and kicking in the city.”

Restoring memory

The most haunting stop on the tour comes next: the Slave Lodge. It stands on the doorstep of the parliament precinct and the gardens that the VOC established to provide fresh produce to ships journeying between the East and the Netherlands.

Thousands of enslaved people from as far away as Angola, Benin, Indonesia, India and Madagascar were housed here from 1679 to 1811. Converted into a museum, it contains artefacts, including shackles and the reconstructed hull of a slave ship as well as a plinth recording the names of the enslaved people – names assigned to them by slave owners when they arrived at the Cape.

Campbell objects to the pristine exhibits, saying they are in stark contrast to the building’s dark history as a place of suffering and violence. One of the most horrific aspects of life there was the sexual violence inflicted by soldiers on women, including rape and coercion into sex work, often with payments made to the VOC.

This violent culture has had lasting effects, contributing to today’s high levels of sexual crimes and domestic violence on the Cape Flats, according to Campbell.

“The Slave Lodge does not get the reflection that it should get,” Campbell tells her tour. “It is very much veneered and made palatable to the visitors. It doesn’t bring the voices of the women in.”

The tour ends in the street behind the Slave Lodge, where Campbell shows the tourists a macabre landmark they might otherwise miss. On a traffic island in the middle of Spin Street is the spot where the city’s slave auctions were once held. A tree that marked the spot was chopped down in 1916. In its place, a slab of stone was installed in 1953, inscribed with a fading and barely legible message about its historical significance.

“It looks like a drain,” Campbell says, noting the sharp contrast between this neglected memorial and the bronze statue of Afrikaner leader Jan Smuts, oddly situated in front of the Slave Lodge, where the plaque bearing his name has been restored to a brilliant gleam.

In 2008, the city tried to rectify this oversight at the auction site, unveiling a commemorative art installation designed by prominent artists Gavin Younge and Wilma Cruise across the street. It consists of 11 granite blocks, roughly at knee height, inscribed with the assigned names of enslaved people and words that recall their tortured reality: “Suicide, infanticide, abscond, escape, flee.”

Activists have criticised the installation for being too cold and failing to convey the deep wounds left by nearly 200 years of slavery.

“Birds s*** on it, people sit on it, but they don’t know what it is,” Campbell says. “They have the names of the slaves that were held at the Slave Lodge, but there’s no story. … It’s a monument that only serves the master, at the end of the day, because it doesn’t bring out the pain of the people.

“I would have loved to see a high rise to bring out the memory of the people, … something more visible.”

My Christmas shopping is done. My annual rewatch of “The Family Stone” is queued up. And our last issue of 2025 is out in the world. Which means it’s time to sign off and start food prep. (I’m doing beef Wellington this year.)

But before I do, I wanted to share stories from this week’s edition of The Envelope, and my thanks to all of you out there for reading. Have a very happy holiday!

The Envelope Directors Roundtable

(Jason Armond / For The Times)

As Rian Johnson said while taping this year’s Envelope Directors Roundtable, filmmakers don’t get many chances to hang out and talk shop — so when they do, it’s always an engaging and illuminating conversation.

Led by moderator Mark Olsen, participants Johnson (“Wake Up Dead Man: A Knives Out Mystery”), Jon M. Chu (“Wicked: For Good”), Nia DaCosta (“Hedda”), Guillermo del Toro (“Frankenstein”), Mona Fastvold (“The Testament of Ann Lee”) and Benny Safdie (“The Smashing Machine”) shared their unvarnished views on theatrical moviegoing, budgets and artificial intelligence. It’s absolutely worth your time.

And by the by: I’m not sure what The Times’ standard is on the, uh, pungent phrase Del Toro used to describe A.I. during the conversation, so I’ll just say that you can and should see it in all its glory on our Instagram.

‘Roofman’ Is a Christmas Movie

(The Tyler Twins / For The Times)

If you’re looking for a new Christmas movie to watch before Santa squeezes down the chimney tonight, “Roofman” is just the ticket. Like “The Holdovers” last year, Derek Cianfrance’s charming fable about a fugitive (Channing Tatum) who falls for a single mom (Kirsten Dunst) while hiding out in a Toys R Us channels Old Hollywood in a way that can seem sadly out of fashion.

“As we were selling this movie, trying to get it financed, I was pitching it to everyone as a Capra movie and what I kept hearing is, ‘We don’t make those movies anymore,’” as Cianfrance told Kristen Lopez.

Perhaps they should reconsider. Unfairly written off after its $8 million opening weekend in October, “Roofman” went on to gross $34 million worldwide from a slim $19 million budget. Not exactly “Home Alone,” to be sure, but a respectable showing nonetheless — and that’s before its streaming afterlife. And those of us who dearly miss the mid-budget studio movie will take any data we can to show they can still thrive at the right price.

Imax’s banner year

(Robert Alexander / Getty Images)

Speaking of box office, one big bright spot in 2025 was the performance of Imax and other premium formats, which are attracting cinephiles to see movies theatrically, often multiple times, and at a higher price point than the standard movie ticket.

With an estimated $1.2 billion take this year, and a raft of highly anticipated films like Christopher Nolan’s “The Odyssey” slated for 2026, Imax has forged an alliance between our most committed moviegoers and some of our most exciting filmmakers that bodes well for the future of cinemas, writes Daron James.

“Imax superfan Shane Short, who saw ‘Oppenheimer’ 132 times and once sat next to [cinematographer Autumn Durald] Arkapaw during a screening of ‘Sinners,’ says it’s a good thing. ‘What really pulls me into movies is the emotional aspect when connecting with something. For me, it’s hard to get that in a normal theater. Imax is truly the ultimate immersive experience that draws me in.’”

More stories from this week’s issue

Trump is also set to preview his 2026 priorities during Oval Office ‘address to the nation’.

No, our Women in Film issue doesn’t exclusively feature women — Noah Baumbach and Brendan Fraser feature in our Dec. 16 edition as well — but it does shine a particular spotlight on their extraordinary contribution to the year in film.

As performers and production designers, writers, directors and more, the women included here helped fashion deeply felt stories of parenthood, friendship, grief and betrayal, and that’s just for starters. Read on for more highlights from this week’s Envelope.

The Envelope Actresses Roundtable

(Jason Armond / Los Angeles Times)

This year’s Oscar Actresses Roundtable was full of laughter, sparked by everything from Gwyneth Paltrow’s impression of mother Blythe Danner to Sydney Sweeney’s tales from inside the ring on “Christy.” But when it comes to self-determination, this year’s participants — who also included Emily Blunt, Elle Fanning, Jennifer Lopez and Tessa Thompson — are dead serious.

As performers, producers and businesswomen, the sextet told moderator Lorraine Ali, the boxes that Hollywood and the broader culture seek to put them in need not apply. And realizing that is its own liberation. As Lopez put it, “I don’t ever feel like there’s somebody who can say to me, ‘No, you can’t.’”

‘Hamnet’s’ last-minute miracle

(Evelyn Freja / For The Times))

Since the moment I first saw “Hamnet,” I’ve been raving to everyone I know about its climactic sequence, set inside the Globe Theatre during a performance of Shakespeare’s “Hamlet.” (Well, if you can call it “raving” when you preface your recommendation with the sentence, “I sobbed through the last 45 minutes.”) As it turns out, though, the process of making the film’s final act was as miraculous as the finished product.

“There were only four days left of shooting on ‘Hamnet’ when Chloé Zhao realized she didn’t have an ending,” Emily Zemler begins this week’s digital cover story, which features Zhao, actors Jessie Buckley, Paul Mescal and Joe Alwyn and production designer Fiona Crombie. What they created from that point, combining kismet, creative inspiration and grueling preparation, will buoy your belief in the power of art. “It was like a tsunami,” Buckley tells Zemler. “I’ll never forget it.”

A Is for Animal Wrangler

When I first read Helen Macdonald’s transporting “H Is for Hawk,” which combines memoir, nature writing and literary criticism, I can’t say I closed the book wondering when we’d get a film adaptation. Little did I know that director Philippa Lowthorpe, star Claire Foy and a pair of married bird handlers would provide such a thorough answer to my skepticism.

As Lisa Rosen writes in her story on the marriage of art and goshawk in “H Is For Hawk,” that meant shaping the production around the notoriously wary birds of prey, including its lead performance. “It wasn’t like having another actor who had another agenda or actions or a perspective that they wanted to get across in the scene,” Foy told Rosen of her extensive screen time alone with the five goshawks who stood in for Helen’s. “I was along for the ride with these animals.”

More stories from our Dec. 16 issue