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A nepo baby with two very famous actor parents has bagged herself a role in the new Peaky Blinders movie – can you guess who her mum and dad are?

Ruby, 27, has followed in her parents footsteps as an actor and according to IMDB, she’s set to star as Agnes Shelby in the upcoming film, Peaky Blinders: The Immortal Man.

The highly-anticipated project is a direct continuation of the BBC One television series and has an epic cast.

Cillian Murphy is back in the role of Thomas Shelby alongside Stephen Graham, Sophie Rundle, Ned Dennehy, Packy Lee and Ian Peck.

Ruby joins other actors who are new to the Peaky Blinders world, including Rebecca Ferguson, Tim Roth, Jay Lycurgo and Barry Keoghan.

Her actor and filmmaker father is best known for his motion capture roles working with animation and voice work for computer generated characters.

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He’s starred in massive Hollywood films including The Lord of the Rings trilogy, King Kong and the Planet of the Apes reboot series.

His work has garnered him several BAFTA awards, a Daytime Emmy Award and a Golden Globe nomination.

Meanwhile, his wife also has an impressive resume, having appeared in massive shows including The Crown, Bridgerton and Grantchester.

And she most recently entertained fans in the BBC drama Riot Women, written by Happy Valley’s Sally Wainwright.

Have you guessed who Ruby’s famous parents are?

That’s right, it’s none other than Gollum actor Andy Serkis and his wife Lorraine Ashbourne.

As well as the projects previously mentioned, Andy has starred in other big projects including Avengers: Age of Ultron, The Batman and Venom: Let There Be Carnage.

The couple got married back in 2002 and live in London with their three children, Ruby, Sonny and Louis.

Ruby Ashbourne Serkis has already starred in some big productions, having bagged small roles in The Hobbit: An Unexpected Journey and The Hobbit: The Battle of the Five Armies thanks to her dad.

She’s since carved out her own career with projects such as drama comedy film La Cha Cha and most recently, Netflix film Steve, alongside Cillian.

Ruby is also set to appear on stage at The Hampstead Theatre in Indian Ink, alongside Felicity Kendal and Gavi Singh Chera.

A synopsis for the play reads: “Satirising the self-importance of both academia and the ruling class, Tom Stoppard’s Indian Ink is an evocative meditation on art and love, exploring how creativity can bridge even the most profound cultural barriers.”

Both of Ruby’s brothers, Sonny and Louis, have also bagged the nepo tag and ran with it, and are also acting.

Sonny has appeared in mini series Masters of the Air, The Witcher, The War Below and Young Wallander.

While Louis is best-known for his role as Alex in the 2019 fantasy adventure film The Kid Who Would Be King.

Back in 2017, Andy directed the film Breathe, which is a true story about the love between Robin and Diana Cavendish.

Many fans thought the film was inspired by Andy and Lorraine’s own love story, having been married for 23 years.

However, Andy has clarified the project was inspired by the Cavendish’s story and the power of their love to overcome adversity.

Joseph Kosinski didn’t want to direct “F1” unless he was able to do it the hard way. That was the germ of an idea for what would eventually become one of the biggest hits of 2025: Create a movie about an underdog Formula One team that didn’t fake being at F1 races, but actually became a part of them.

“It was kind of like, ‘Yes, this is a little insane,’” said Kosinski, “‘but if we can pull it off, we’ll get something totally unique.’”

Kosinski doesn’t present as your average adrenaline junkie. He’s mellow and looks like he could work at a bank — in fact, he pursued architecture before finding a calling in film as a David Fincher protégé. Kosinski was trusted with blockbusters from his debut, 2010’s “Tron: Legacy,” and in 2022 broke through with “Top Gun: Maverick,” which strapped Tom Cruise and other insurance liabilities into actual fighter jets as an alternative to relying on CGI.

“I think on ‘Maverick,’” Kosinski said, “I found out that the audience does appreciate when you shoot something for real. They can tell the difference between something done on a soundstage and done in a real situation. It’s something we are very attuned to and connect to.”

“F1” tells the story of Sonny Hayes (Brad Pitt), a leathery road dog of a driver who gets called back into Formula One by an old racing friend (Javier Bardem), who’s now the owner of a struggling team, desperate for a Hail Mary. The film is partially based in reality; the Hayes character is inspired by Martin Donnelly, whose promising career was cut short in 1990 by a gruesome crash. It’s also partially based in a fantasy in which someone old enough to have seen the 1966 epic “Grand Prix” in theaters would be allowed to sit in the driver’s seat of a modern F1 team.

Director Joseph Kosinski on the set of “F1.”

(Apple TV)

But the fantasy elements were designed to be offset by a hyperrealism that’s rarely afforded to film productions — not just in the ability to feature the actual teams and drivers, but also to film a significant portion of the movie at the races themselves. It helped that the production had Lewis Hamilton, one of the best drivers in the history of the sport, on board as a producer to help grease the wheels with the Fédération Internationale de l’Automobile, the governing body of F1. Even with Hamilton, though, Apple — which ultimately spent over $200 million on the movie — had to prove to the FIA that they could set up at an event like the fabled British Grand Prix at Silverstone and not cause a pileup.

“We had to rehearse the blocking and staging for about two weeks with a stopwatch in front of the FIA to prove to them that we could actually shoot a scene and get off the track before the race started,” said Kosinski, referring to a crucial scene when the characters played by Pitt and Tobias Menzies first meet.

Unlike “Maverick,” in which military pilots flew the jets, “F1” features driving from Brad Pitt and co-star Damson Idris, in some sense because it was the only way to get the shots they needed. “They’ve got four cameras in front of them that are whipping around and they’re having to do their lines and perform,” said Kosinski. “But mostly they’re trying not to die in front of 100,000 people.”

Every department — from the actors to craft services — had to learn how to operate at dangerous speeds and with higher stakes. Ben Munro, who did the production design with Mark Tildesley, explained that, normally, his department would have two weeks to build a set; in some cases on “F1,” such as a scene filmed at the McLaren headquarters, they would have just 12 hours, overnight.

“When you try to integrate with the real world, ultimate control becomes harder,” Munro said. “And as filmmakers, we’re used to being in ultimate control.”

The “F1” team developed new cameras to capture the film’s ultra-realistic high-speed racing.

(Apple TV)

The camera team too had to be adaptable and mobile (no VistaVision here), all while figuring out how to capture footage at 180 miles per hour that couldn’t be covered with more than a few takes. “First, we had to make a camera that didn’t exist yet,” said Claudio Miranda, the film’s cinematographer.

Miranda, who won an Oscar for “Life of Pi,” worked with Sony to develop small, agile “sensor-on-a-stick” cameras with Imax-worthy lenses to place around the cars. Coverage became essential — there were 16 camera positions to capture as much as possible. With both the racing itself and the hoopla around race weekend, the usual filmmaking mindset simply had to change: “I’m not always able to shoot sunset for this shot, or backlight for this quarter,” said Miranda, describing his thinking. “We traded all that in for the realism of the movie. But I think that’s unbeatable.”

Other than a few spinouts (and a stray Brad Pitt fan ruining a shot to get a selfie), the production was miraculously accident-free, despite taking almost two years to film. That may be due in part to the fact that, if you squint, it turns out that a film crew is similar enough to an F1 team to fit right in.

“Everyone had to be prepared for those nine-minute shoot windows in the same way that you’d have to be ready for a pit stop,” Kosinski said. “There was a really interesting kinship. And we really did feel like the 11th team after spending two seasons with them.”

The moment that sticks with Miranda is from the end of the production, in Abu Dhabi, when all the real F1 teams got their cars out for one grand scene together — a million-dollar setup, to undersell it by a few digits. “In the beginning, it did feel like we were this annoying little buzzard,” Miranda said. “I think that’s why I got really emotional when everyone wanted to help us out in the final race and bring the cars out. Because it felt like, at the end, we were kind of loved.”

Periodically, the Latinx Files will feature guest writers. Filling in this week is film reporter extraordinaire Carlos Aguilar.

With the explicit goal of making people laugh, the endearingly foul-mouthed Mexican American filmmaker Alejandro Montoya Marin is building an unpretentious body of work.

“There are far smarter people than me to make ‘Parasite’ or to make Yorgos [Lanthimos’] movies,” says Montoya Marin, 42, laughing during a recent video interview from his home in Los Angeles. “I want to entertain you for 88 minutes and have you come out and be like, ‘I’m going to recommend that to a friend.’ That’s it.”

It’s not that he lacks ambition.Montoya Marin, whose T-shirt is emblazoned with Hong Kong action film legend John Woo, feels secure in the type of storytelling that best suits his interest and abilities. And he’s taken a DIY approach to making films and promoting them so that they can reach audiences directly.

“Their job is to tell you no,” he says of decision makers in the entertainment industry. “But you have the ability to say, ‘F— you, I’m going to be creative. You’re not going to tell me when I can be creative.’ And that was always the mentality that I had.”

His third feature, “The Unexpecteds,” now available on streaming platforms, features a mostly Latino cast: Chelsea Rendon (“Vida”), Francisco Ramos (“Gentefied”) and Alejandro De Hoyos (“The Man From Toronto”) — as well as actor Matt Walsh in the lead role. Executive produced by independent cinema legend Kevin Smith of “Clerks” fame, the action comedy follows a group of everyday working people who take justice into their own hands after an online financial guru, Metal Mike (John Kaler), scams them out of their savings.

“I love underdog stories because I feel like I am one and there are so many people like that,” Montoya Marin says about “The Unexpecteds” and his other films. “Maybe there could be movies that can inspire them or make them feel good about themselves for a little bit.”

Born in Laredo, Texas, to parents from Yucatán and Mexico City, Montoya Marin owes his cinematic awakening to a disparate double feature that introduced him to the gritty dystopia of “RoboCop” and the heart-rending sentimentality of “Cinema Paradiso.”

He was about 7 years old and had tagged along with his uncle, who was taking a date to the movies, in the Mexican border city of Nuevo Laredo. “I didn’t understand [“Cinema Paradiso”] because it was in Italian and subtitled in Spanish. My Spanish wasn’t amazing then,” says Montoya Marin. “But I understood a lot of it, and that double feature did it for me.”

And thus, his topsy-turvy, multicity trail to the triumphs and pitfalls of moviemaking began. At 12, Montoya Marin moved from the U.S. to Merida, Yucatán, where he then made his first amateur short film inspired by the “Star Wars” universe.

He later studied marketing in Monterrey, Nuevo Leon. To supplement his income during those days, Montoya Marin opened his own video store, which he called Quick Stop Video, in honor of Quick Stop Groceries, the convenience store in Smith’s “Clerks.” One day, an office opened across the street that had a sign that read “Go study in Canada.” Intrigued, Montoya Marin inquired about film schools, and was immediately enticed by Vancouver Film School, mainly because a young Smith had briefly attended there. He sold all his movies and, as an American citizen, got a student loan and moved to Canada.

Though they now have a close relationship, Montoya Marin’s father, a successful businessman, did not initially support his artistic aspirations, which caused conflict.

“My dad would go, ‘Bring those dreams down because the fall will be less hard,’ and I’d go, ‘F— that. Why?’” he recalls. “He told me, ‘If you go there I don’t want to see you. You’re not seeing the family.’ I was like, ‘OK, that’s a risk I have to take.’”

After graduating, Montoya Marin couldn’t afford to live in Los Angeles and instead moved to Albuquerque, N.M., where he worked for 13 years as a production assistant and as a commercial director. During that time, a career-altering opportunity came his way.

While in Europe shooting a project, Montoya Marin finished the screenplay for his first feature, “Monday.” The script earned him a spot in Robert Rodriguez’s reality show “Rebel Without a Crew,” which aired in 2018 on El Rey Network. Each participant had to produce their feature film with a budget of $7,000, the same amount of money Rodriguez made his debut, “El Mariachi,” for.

“It was a dream come true. Robert is very down to earth. You could tell he’s not bulls—. He doesn’t play the game,” he says. “We would be filming at three in the morning, y ahí lo veías trabajando.”

“I was honored to mentor Alejandro as he directed his very first feature film,” Rodriguez said in an email. “He had the true indie filmmaking spirit within him and inspired me right back! He’s a great representation of what audiences desire: authenticity and passion.”

After “Monday,” an action comedy centered on a man down on his luck who gets caught in a cartel war, Montoya Marin raised $60,000 via crowdfunding to make his sophomore effort, “Millennium Bugs,” a Y2K-set tale about two people coming of age as the world anticipates chaos. And while neither of those films had the impact he’d hoped for, that outcome did not deter him in the slightest.

“There’s no Plan B, compadre,” he said, laughing. “That’s why I can firmly just go headfirst because if I die on set, I will be a happy man.”

Montoya Marin met Walsh while shooting Eva Longoria’s “Flamin’ Hot,” where they both had acting parts. A friendship developed between them, and eventually the filmmaker offered Walsh the part in “The Unexpecteds.” Although he shot the film in 15 days, like his previous features, this time he had a more sizable budget (still under $1 million).

As part of its 2024 festival run, “The Unexpecteds” screened at Smith’s Smodcastle Film Festival in New Jersey, where it won the Best Comedy Award. It was there that Montoya Marin first connected with one of his heroes.

“Giving a platform to fledgling filmmakers with the Smodcastle Film Festival is meaningful to an old film fest kid, and if my name can help them open a single door, I’m happy to help,” Smith said. “But being involved with ‘The Unexpecteds’ does me more good than them. Attaching myself to a talent like Alejandro is a sure way to ensure I get to stick around in a business I’m getting too old for.”

The first time Montoya Marin met Smith in person was right before going on a news show where the two were supposed to have a joint interview to promote the film. It was there that Montoya Marin witnessed his hero’s walk-the-walk allyship in action.

Before going on air, the production informed Montoya Marin that they wouldn’t be able to have him do the interview. Only Smith would be on camera. “But to make it up to you guys, we’re going to make this a Hispanic Heritage Month themed segment,” the team told them.

That’s when Smith stepped in. “You’re going to put the white guy to come and promote Hispanic Heritage Month,” he said, according to Montoya Marin. “Kevin goes, ‘That’s stupid. I’m not doing that. Mic him up, because the filmmaker is the best salesman of a film.’” Smith was shocked at what the TV folks had tried to pull. “I told Kevin, ‘You were just witness of what they do to us without saying an insult. It’s just polite,’” Montoya Marin recalls.

Thanks to Smith’s intervention, Montoya Marin ultimately did the interview. “I fell in love with him even more,” he added.

Now that his most ambitious project yet is out in the world, Montoya Marin has multiple projects in the works, from a thriller to a comedy set in the ‘90s, and even a project that would allow him to shoot in Mexico. Like a good salesman, he has perfected his pitch.

“I’m dying to make a movie in Spanish. I already have the concept and some producers. I just need $1.5 million and I will give you one of the best comedies in Mexican cinema,” he declares. “And I’m not saying just to be m—, but I know I’m funnier in Spanish.”

Speaking with Montoya Marin, one gets the sense that he’s consistently trying to disarm you into rooting for him. It’s not manipulative but refreshingly sincere — and a bit brash. Getting behind him is a vote of confidence for independent cinema that doesn’t take itself so seriously. His humorous conviction and rousing spiel make one eager to believe him.

The American Cinematheque will screen “The Unexpecteds” on Dec. 13 at the Los Feliz 3, with Montoya Marin and Smith in attendance.

Stories we read this week that we think you should read

Unless otherwise noted, stories below were published by the Los Angeles Times.

Politics, immigration and foreign affairs

Arts, culture and entertainment

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

This week I spoke to James L. Brooks, whose legendary career includes “The Mary Tyler Moore Show,” “Terms of Endearment,” “Broadcast News” and “The Simpsons,” about his new film “Ella McCay,” which opens in theaters Dec. 12.

The film stars Emma Mackey as a classic Brooksian heroine: a lieutenant governor of a small, unnamed state with a genuine desire to make other people’s lives better who unexpectedly finds herself thrust into the job of governor.

Albert Brooks and Emma Mackey in the movie “Ella McCay.”

(Claire Folger / 20th Century Studios)

Warm and affectionate toward its characters while also clear-eyed about their all-too-human imperfections, the film is the kind of made-for-adults dramedy that is currently out-of-favor with Hollywood.

“I don’t believe people don’t want comedy,” Brooks said. “Obviously, I hope that you have meat on the bone and that doesn’t mean you can’t do a real scene about real difficulty, especially with this picture.”

Matt Brennan spoke to Renate Reinsve, star of Joachim Trier’s “Sentimental Value,” while the two of them toured Frank Lloyd Wright’s Hollyhock House. Carlos Aguilar spent time with Amy Madigan, the veteran actor enjoying renewed career energy thanks to her role as Aunt Gladys in “Weapons.”

Among the movies’ new releases, Amy Nicholson reviewed Rian Johnson’s latest Benoit Blanc story, “Wake Up Dead Man: A Knives Out Mystery,” calling it the “darkest, funniest and best installment yet.”

Mila Kunis, Daniel Craig and Josh O’Connor in the movie “Wake Up Dead Man: A Knives Out Mystery.”

(Netflix)

Amy also reviewed Chloé Zhao’s “Hamnet,” an adaptation of Maggie O’Farrell’s novel about William Shakespeare (Paul Mescal) and his wife Agnes (Jessie Buckley) as they grapple with the death of their young son Hamnet, a grief that results in the play “Hamlet.”

If you are really looking to get away from family this week, consider Julia Loktev’s five-and-a-half-hour documentary “My Undesirable Friends: Part I — Last Air in Moscow,” which chronicles the fall of one of the last independent news channels in Russia, largely run by women, during the country’s invasion of Ukraine. Loktev and one of the film’s subjects, Ksenia Mironova, will be at the Laemmle Royal for Q&As after certain shows on the 28th and 29th.

As Tim Grierson put it in his review, “During a year in which the worst-case scenarios of a second Trump presidency have come to fruition, ‘My Undesirable Friends’ contains plenty of echoes with our national news. The canceling of comedy shows, the baseless imprisonment of innocent people, the rampant transphobia: The Putin playbook is now this country’s day-to-day. Some may wish to avoid Loktev’s film because of those despairing parallels. But that’s only more reason to embrace ‘My Undesirable Friends.’ Loktev didn’t set out to be a witness to history, but what she’s emerged with is an indispensable record and a rallying cry.”

Also opening this week is another of the year’s most boldly unconventional films, Kahlil Joseph’s “BLKNWS: Terms and Conditions,” a dense, collage-like exploration of Black identity and history, playing at the Lumiere Music Hall. Anyone who saw the recent blockbuster exhibition of artworks by Joseph’s brother, the late Noah Davis, at the Hammer Museum will also find “BLKNWS” a worthwhile experience.

Cinematographer Roger Deakins on the future of the Coen brothers

Cinematographer Roger Deakins photographed at the Toronto International Film Festival in 2019.

(Jay L. Clendenin / Los Angeles Times)

Roger Deakins is among the most celebrated and best-known cinematographers of his era. A two-time Oscar winner, he has worked with filmmakers such as Joel and Ethan Coen, Sam Mandes, Denis Villeneuve and many more, on films including “No Country for Old Men,” “The Big Lebowski,” “Skyfall,” “Sicario,” “Blade Runner 2049” and “1917.”

Deakins, 76, who often works in collaboration with his wife James Ellis Deakins, has for the past few years been hosting a podcast, “Team Deakins,” interviewing filmmakers. He has recently published “Reflections: On Cinematography,” which is part memoir and part how-to, drawing from his personal archives to explore his work on so many contemporary classics.

On Sunday, the American Cinematheque will screen director Andrew Dominik’s 2007 “The Assassination of Jesse James by the Coward Robert Ford” at the Aero Theatre with both Roger and James present for a Q&A and book signing.

They recently got on a video call from their home in Santa Monica to talk about the book, their relationship and whether to expect another movie from the Coen brothers.

Javier Bardem in Joel and Ethan Coen’s 2007 movie “No Country for Old Men.”

(Miramax Films)

One of the things that’s so striking about the book is that it is very much a memoir, the story of your life, but it is told through these movies and an exploration of your artistic practice.

Roger Deakins: Well, that was the balance. We didn’t want it to be a technical manual and we didn’t want it to be a sort of tell-all or just recounting old stories.

James Deakins: When you work in the film business, it’s so intense. Your work is your life.

Roger Deakins: Especially when I started out, shooting in documentaries for a few years, that was the life experience that opened the world to me. I didn’t see the world other than my experiences shooting films, whether it was documentaries or later fiction films, like going together to Morocco to shoot “Kundun.” The life experience actually has always been as important to me as the actual work.

Can you tell me a little bit more about just the relationship between the two of you, traveling together, working on all these different movies? What has that meant to you?

Roger Deakins: It’s all very weird. That is so not me.

James Deakins: The reason why we work so well together is Roger’s very intent on what he is doing and doesn’t particularly want to talk to other people during that time period. And I do — I love to talk to people. I love to solve problems. I love to do all that. So together we kind of make this whole. But we also have a lot of people come up to us and ask us for relationship advice.

Roger Deakins: When we met, I think I was 41 or something. We were both fairly kind of, not lonely, but we were loners, both of us. And we connected on a film. We met on a film together. James was script supervisor on a film that I was shooting. And after that film, it just seemed obvious to me that we should be together. And it’s been wonderful. We’ve just shared these life experiences together. I couldn’t really understand other relationships, which seemed to work well, where one person goes away and works on a movie for like six months and then comes back home and tries to step back into a relationship like nothing had happened. I don’t see that. So we’ve always shared things together. Doing the podcast was very much James’ idea, but I’ve kind of warmed to it.

James Ellis Deakins, left, and Roger Deakins at the 95th Academy Awards at the Dolby Theatre in 2023.

(Robert Gauthier / Los Angeles Times)

When people ask for relationship advice, what do they want to know?

James Deakins: They’re saying, “I’ve got to travel so much. How do I keep it together?” Or: How do we work together? Just, will this work? Is it possible? It’s very strange, because we’ve just done a very technical Q&A and my head’s there, and then someone comes up to me — and I can always kind of tell because they’re bearing down on me — and they go, “I just want to ask you…”

Roger, in the book you talk about how, when you were starting out and in film school, you thought of yourself as a director. As you started shooting more for other people, did that create a sense of a path not taken?

Roger Deakins: I would be lying if I was saying there wasn’t a little bit way down deep inside of me that was saying: What if I had tried to become a director instead? But on the other hand, I’ve been part of so many movies with so many really nice, intelligent people. And I really do have a confidence problem. We did try and get together a couple of projects a number of years ago and I just don’t have the confidence. I’m terrible going into a studio and pitching a project.

I’m just not that political person. I love nothing more than being on a set with a whole group of people. I love just working with the camera crew and electricians and the grips and the painters and everybody else. I love that collaboration. And often a director is in a much more lonely place.

Do you feel like you have a signature? What is it that you bring to a project?

Roger Deakins: I hope I don’t have a signature. I hope I just have a way of relating to a story and something in front of me. Maybe there’s some sort of personal perspective.

James Deakins: Well, I think you bring a commitment to the project. And you also are so committed to creating the director’s vision as opposed to you coming in and saying, “Well, let’s make it the way that I always do it.” And so I think you allow what the director has in his head to come out.

Roger Deakins: It’s also really important that you’re not just there to create pretty pictures. Oh, that’s a great sunset, but what the hell does it have to do with this story? Or: Let’s put up five cameras and get a lot of material and we’ll cut something out of it later. That’s the extreme version of something that’s anathema to me.

You say that people confuse pretty cinematography with good cinematography. How do you define good cinematography?

Roger Deakins: Cinematography that’s not noticed. Not noticed because people are too absorbed in the story. When you go to a premiere or any screening and you come out and somebody comes out and says, “Oh, I love that shot where such and such” — that was a mistake because not one shot should stand out. Somebody said, “Oh, wasn’t that a lovely sunset?” Then you’ve taken the audience out of the film. You’ve just drawn attention to the image.

Ryan Gosling in the movie “Blade Runner 2049.”

(Stephen Vaughan / Warner Bros. Pictures)

So even for all the astonishing images you’ve created, you still think that they shouldn’t be noticed?

Roger Deakins: In a way. I mean, obviously on some films you’ve got more license than others. Obviously I could have more fun on “Skyfall” in certain instances, or “Blade Runner,” more than I could on “No Country for Old Men.” “Blade Runner,” I could do these kind of lighting things in the Wallace building because that was part of the character, that was part of his creation, not mine. So it kind of felt integral to the character. But in another situation, I’m never going to do that kind of lighting.

You haven’t shot anything for a few years now. Are you hoping to find something?

Roger Deakins: Kind of. It depends which day you ask me, really.

James Deakins: Really depends on the project. And we haven’t seen anything, really.

A lot of people are very eager for Joel and Ethan Coen to work together again. Have you had any conversations with them?

Roger Deakins: Well, Joel’s just been directing a film in Scotland, his own film. I’ve talked to Joel on and off lately and, well, actually Ethan not that long ago, but I’m not sure what their plans are now. So that’s all talk. That’s like talking about my football team, Manchester United. What’s the next player they’re going to buy? Who knows?

Points of interest

‘Coming Home’

Jane Fonda and Jon Voight in the movie “Coming Home.”

(Herbert Dorfman / Corbis via Getty Images)

On Monday, the Frida Cinema will show Hal Ashby’s 1978 “Coming Home,” starring Jane Fonda, Jon Voight and Bruce Dern. Fonda and Voight both won Academy Awards for their performances and the film was named best picture by the Los Angeles Film Critics Assn.

“Coming Home” is an exploration of the costs of war at home and also about learning to live with disability. Voight plays a Vietnam veteran who returns a paraplegic, struggling to adjust to his new life. Fonda is a woman whose husband (Dern) is deployed to Vietnam. When she begins to volunteer at the local VA hospital, she reconnects with Voight’s Luke, a friend from high school. As the two begin an affair, all three of their lives are upended.

Critic Kristen Lopez will be there to introduce the screening, as well as sign copies of her new book, “Popcorn Disabilities: The Highs and Lows of Disabled Representation in the Movies.”

Via email, Lopez explained her selection of “Coming Home,” saying “it’s one of the few movies that, I think, even though it’s not cast authentically, does illustrate the disabled experience in an authentic way. Director Hal Ashby, producer Jane Fonda and star Jon Voight did deep research into disabled veterans, specifically wheelchair users, and it’s the first movie I remember seeing that got the little bits of disabled business correct. It’s also a movie that, even today, is remarkably progressive in how it portrays disability. Luke Martin has a home and a car, he’s self-sufficient, and too often we don’t see how disabled people live.”

‘Putney Swope’

An image from “Putney Swope,” directed by Robert Downey Sr.

(Cinema 5 / Photofest)

Opening the series “Present Past 2025: A Celebration of Film Preservation” at the Academy Museum will be the world premiere of a new 35mm print of Robert Downey Sr.’s 1969 “Putney Swope.” A biting satire of how corporate culture handles race, the film stars Arnold Johnson as the title character, who is unexpectedly made president of a major advertising firm and proceeds to upend all of its messaging. Paul Thomas Anderson has often spoken of Downey as an influence — an influence that can be clearly seen in the anti-authoritarian “One Battle After Another.”

In his original January 1970 review, Charles Champlin wrote, “‘Putney Swope’ is not so much a movie as a cartoon with real people. … ‘Putney Swope’ is not for anyone who demands good taste in movies, or restraint, or a presumption of dignity in the human character. But in its youthful, irreverent and uninhibited but medicinal way, ‘Putney Swope’ is shocking good fun.”

Also playing as part of the Academy’s preservation series, which runs through Dec. 22, will be world premiere restorations of William Wyler’s 1934 “Glamour,” John M. Stahl’s 1933 “Only Yesterday,” Lloyd Corrigan’s 1931 “Daughter of the Dragon” and George Marshall’s 1945 “Incendiary Blonde.” Other titles in the series include North American restoration premieres of Konrad Wolf’s 1980 “Solo Sunny” and Mikio Naruse’s 1955 “Floating Clouds,” plus the U.S. restoration premieres of Howard Hughes’ 1930 “Hell’s Angels” and Pedro Almodóvar’s 1986 “Matador.”

‘While You Were Sleeping’

Peter Gallagher and Sandra Bullock in the romantic comedy “While You Were Sleeping.”

(Michael P. Weinstein / Hollywood Pictures)

On Dec. 5, the New Beverly will screen a matinee of John Turteltaub’s 1995 “While You Were Sleeping.” (Take that extra long lunch or just knock off work early. It’s the holidays.) This winsome, utterly charming romantic comedy really helped cement Sandra Bullock’s screen persona and stardom, and deservedly so. A lonely woman (Bullock) who works in a ticket booth for the Chicago Transit Authority quietly pines for a handsome man (Peter Gallagher) she sees every day. After she helps save him from an accident, a misunderstanding at the hospital leads his family to believe she is his fiancée while he is in a coma. Then she meets his brother (Bill Pullman) and the complications really ensue.

In his original review of the film, Peter Rainer wrote, “Bullock is a genuinely engaging performer, which at least gives the treacle some minty freshness. Her scenes with Pullman are amiable approach-avoidance duets that really convince you something is going on between them. Like Marisa Tomei, Bullock has a sky-high likability factor with audiences. She can draw us into her spunky loneliness — you want to see her smile.”

Twenty-five years ago (25!), I was talking with John Cusack about his movie “High Fidelity,” the one where he played Rob Gordon, a record store owner and compulsive list maker. We were batting around top-fives — Rob’s top five movies: “Blade Runner,” “Cool Hand Luke,” the two “Godfather” films and “The Shining” are as good a list as any — and I asked Cusack if he, like Rob, had a funeral music top five.

“‘Many Rivers to Cross’ feels like the perfect choice at No. 1,” Cusack answered, citing the great Jimmy Cliff’s enduring anthem of perseverance.

Now Cliff has crossed over to the other side, which makes it feel like a good time to cue up “The Harder They Come” — though there is never a bad time to play that trailblazing reggae soundtrack.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter, thankful I can see clearly now the rain is gone. Let’s look at how box-office success is all relative these days when it comes to awards season.

With Oscar voters, box-office perception is reality

Misato Morita and Brendan Fraser in the movie “Rental Family.”

(James Lisle / Searchlight Pictures)

What movies are you seeing this Thanksgiving weekend? If you’re pushing aside the pie and leftovers, chances are you might be buying a ticket for “Wicked: For Good” or “Zootopia 2.” The “Wicked” sequel opened to an estimated $150 million last weekend, besting the original and making my optimistic forecast for its Oscar prospects look a little rosier.

Meanwhile, “Rental Family,” a sweet, superficial drama starring Brendan Fraser looking to savage your heartstrings once again, opened to just $3.3 million from nearly 2,000 screens. Even in a lead actor field that isn’t particularly deep this year, Fraser’s chances of returning to the Oscars are now pretty much nil.

“Rental Family” is the latest fall film festival awards contender starring an A-list (or A-list-adjacent) actor to disappear at the box office. The list includes “The Smashing Machine” (Dwayne Johnson), “Christy” (Sydney Sweeney), “After the Hunt” (Julia Roberts and Andrew Garfield) and “Die My Love” (Jennifer Lawrence).

Going through these titles, you could make a case that moviegoers are simply showing discernment. None of the movies worked. Critics shrugged, and audiences responded in kind. Good on Johnson and Sweeney for using their star power to stretch, but when people are questioning if they can afford to eat out at McDonald’s, they’re going to need a reason to buy a ticket beyond mere curiosity.

The dead-on-arrival opening weekends of these movies have recast the lead actor and actress Oscar races, boosting anyone not stained by perception of outright failure.

But in this post-pandemic age of moviegoing, what constitutes success? Pushing through to December when the critics groups (as well as “critics” groups) start handing out awards and nominations, the goal is to convey an impression of success and hope that financial windfall might follow.

For example: Joachim Trier’s decidedly unsentimental family drama “Sentimental Value” has parlayed its strong word of mouth and critical acclaim to decent-enough ticket sales in its limited engagement the last two weeks. No one expects a Norwegian-language movie to burn up the box office. Doing fine is a victory.

Then there’s Richard Linklater’s “Blue Moon,” a modest, moving portrait of legendary Broadway lyricist Lorenz Hart, which opened last month in five theaters, quickly expanded to nearly 700 screens before retreating to a few dozen. It didn’t flame out commercially but has grossed a mere $2 million. That’s … OK. The strong reviews for the film and its lead, Ethan Hawke, have kept Hawke in the conversation for his first lead actor Oscar nomination.

Is it fair that Hawke lives while Lawrence, Sweeney, Roberts and Johnson, whose movies opened wide to disastrous results, feel finished?

“Oscar voters aren’t going to watch a movie that has been deemed a failure,” says a veteran awards publicist, who spoke on the condition of anonymity in order to discuss the situation candidly. “When people read those scary headlines opening weekend, they don’t forget.”

Oscar Isaac in “Frankenstein.”

(Ken Woroner / Netflix)

Netflix, which opens its contending films in qualifying releases before they land on the streaming platform, is mostly immune to this kind of negative publicity as it doesn’t report box-office numbers. But it will release the number of “views” its films rack up. Guillermo del Toro’s monster movie “Frankenstein” accumulated nearly 63 million views in its first 10 days; Kathryn Bigelow’s riveting thriller “A House of Dynamite” totaled 31.6 million in its first two weeks. (The company defines a view as the total time spent watching a movie divided by the running time.)

Guess which movie is currently Netflix’s perceived Oscar favorite?

The movie to watch this weekend then, in more ways than one, is Chloé Zhao’s celebrated drama “Hamnet,” which has piled up audience awards at film festivals the last several weeks. Focus Features is platforming it in 100-plus theaters, and if you live in Southern California, you won’t have to drive too far to see this beautiful story of love and loss and transcendent catharsis.

What narrative will emerge? I’ll write more about “Hamnet” on Monday. For now, get thee to a theater and let me know what you think.

It’s awards season crunch time, in the sense that I’m crunching in as much work as I can before a Thanksgiving respite — including a guide to some of the highlights from this week’s issue of The Envelope, covered by my profile of Renate Reinsve.

Whether it’s while you smell turkey legs being turned into gravy (i.e., if you’re me as I write this) or as you’re lounging around over the holiday weekend, I hope you’ll dive into the great stories below. And be sure to take a breather from the mayhem in the process. It’s a marathon, not a sprint!

Digital Cover: Ethan Hawke

(Victoria Will / For The Times)

In the years since the Golden Age of TV, it’s not been uncommon for actors to vie for major awards on both the big and small screens at once. But few in recent memory have done so in such distinct projects as Ethan Hawke in “Blue Moon” and “The Lowdown”: One is a chamber drama about the last days of legendary songwriter Lorenz Hart, the other a noirish tale of a hangdog journalist.

It’s a reflection of the actor’s voracious appetite for the unexpected (see also: “Black Phone 2”), which he reveals that some in Hollywood once found “irritating.”

“Generally, people are more comfortable when they know exactly what you are and what your thing is, and if you keep changing your thing it’s confusing,” he tells writer Emily Zemler. “But it’s always been interesting to me to do different things. It makes acting really exciting to me to keep shaking it up. Each thing has its own geometry and math, and that keeps you really engaged.”

Eva Victor on ‘Sorry, Baby’

(Jason Armond / Los Angeles Times)

One of my favorite films of the year, “Sorry, Baby” works on many levels — as a campus satire, a portrait of a friendship, a slice of small-town life. And as writer-director-star Eva Victor writes in a new essay on the film, it took all of those other levels to make the film’s deepest, darkest level possible.

“There was a time in my life when I was looking for a film about going through a trauma that held my hand while I was watching it,” Victor notes, contrasting “Sorry, Baby” with films that depict similar subjects with violent imagery. “I needed the film to care for me, the person who’d been through the difficult thing. I didn’t need a film that existed to teach people how bad it is to go through a bad thing, I needed a film that existed to make me feel less alone.”

How ‘F1’ became a part of F1

As an avowed fan of Formula One, from docuseries “Drive to Survive” to scripted miniseries “Senna,” what fascinated me most watching Apple TV’s summer blockbuster “F1” was the delicate logistical dance it must’ve required to shoot a major theatrical film at actual races on the actual F1 circuit. Maybe that’s my stressed-out editor brain at work, but I asked Nate Rogers to dig into the question.

He reports back that even with legendary racer Lewis Hamilton and Apple on board, the film had to prove “that they could set up at an event like the fabled British Grand Prix at Silverstone and not cause a pileup.”

“We had to rehearse the blocking and staging for about two weeks with a stopwatch … to prove to them that we could actually shoot a scene and get off the track before the race started,” director Joseph Kosinski tells Rogers.

I can recognize a tough deadline when I see one.

Additional highlights from our Nov. 25 issue

At the Beijing premiere of “Zootopia 2” last week, Walt Disney Animation Studios Chief Creative Officer Jared Bush encountered a wall filled with letters from people throughout China, all writing about what the original 2016 animated movie meant to them.

They highlighted the optimism of rabbit cop Judy Hopps and how they wanted to emulate her sunny outlook. They cited the unlikely friendship between Judy and her partner in crime, a fox named Nick Wilde, as hope that they could find common ground with different family members. It was a display Bush didn’t see at any other premiere.

“It’s more than just a story,” said Bush, who wrote and directed “Zootopia 2,” directing alongside Byron Howard. “A lot of the time, these characters have helped people through difficult moments of their life. They have a lot of love for these characters.”

To this day, the original “Zootopia” ranks as China’s highest-grossing Hollywood animated film, with a total box office haul there of $236 million. Marketing ahead of the new film has included promotions with 10 brands, as well as displays throughout the country, including in Shenzhen, Chengdu and Beijing.

But over the years, the China market for U.S.-made films has changed dramatically, leading to questions about whether “Zootopia,” which heads to theaters Wednesday, and its loyal following can break through the more difficult landscape that American movies face there today.

Once seen as a major — and lucrative — destination for big Hollywood blockbusters, the country now has a more robust local film industry that’s pumping out strong competitors. The fraying geopolitical relationship between the U.S. and China also hasn’t helped, nor has the increasing trend of younger audiences watching short-form content on their phones.

“It’s important to the industry that both ‘Zootopia’ and ‘Avatar’ work,” said Andrew Cripps, head of theatrical distribution for Walt Disney Studios, referring to the upcoming James Cameron-directed “Avatar: Fire and Ash.” “The overall industry needs some success at year-end, and I think this would be a tremendous sign of confidence in the marketplace.”

China was once seen as a gold mine for certain films — namely, big studio movies — that could get approval from its government for release.

A decade ago, Hollywood movies would regularly haul in more than $100 million at the Chinese box office, with massive blockbusters like 2015’s “Furious 7” and 2014’s “Transformers: Age of Extinction” drawing north of $300 million each. Some films with softer domestic debuts could count on China to supersize their box-office returns, like 2016’s “Resident Evil: The Final Chapter,” which grossed nearly $160 million in China alone, but just $26.8 million in the U.S. and Canada.

In 2016, the domestic Chinese film business saw a significant slowdown in box-office growth. As a result, revenue from imported films — largely those from the U.S., such as Universal Pictures’ “Warcraft” and Disney-owned Marvel Studios’ “Captain America: Civil War” — increased by 10.9%, said Ying Zhu, author of “Hollywood in China: Behind the Scenes of the World’s Largest Movie Market.”

Those foreign films accounted for 41.7% of the total market share at the time, up from 38.4% in 2015, she wrote in an email. To help boost year-end revenue, Chinese regulators even relaxed the so-called blackout on imported films during December, which was traditionally saved for local movies.

“Zootopia” opened in China to just $22 million at the box office, but momentum grew in subsequent weeks. Though a movie from the U.S. typically got a four-week run in China, Chinese regulators made an exception and added two extra weeks, said Bush, who co-directed and co-wrote the 2016 film.

“‘Zootopia’ was somewhat of a real surprise to us here in China,” he said on a video call from Beijing while on the film’s publicity tour. “We didn’t know that it was going to turn into this phenomenon here.”

Known in China as “Crazy Animal City,” the film’s dynamic between lead characters Nick and Judy and their imperfect but caring relationship appealed to Chinese audiences, as did Judy’s backstory of moving from a small town in the countryside to a major metropolis, Bush said. Animated films have also long been popular in the market.

After the film’s success, Disney built the “Zootopia”-themed land in Shanghai Disneyland, which opened in 2023 and is the only such land in any Disney park. The studio recently held the movie’s Shanghai premiere at the themed land, as crowds of fans (both there and in Beijing) dressed up as characters from the film, including lesser-known ones like Fru Fru the shrew and Officer Clauhauser, a pop culture-obsessed cheetah.

But since 2020 and the COVID-19 pandemic, China has pulled back from its embrace of Hollywood films, particularly as its political relationship with the U.S. has chilled.

Earlier this year, China planned to reduce the number of Hollywood films it allows into the country, amid tariff tensions with the U.S. At the same time, China’s homegrown film industry has matured, leading to more locally-produced movies at the box office. A notable success was the animated hit “Ne Zha 2,” which raked in almost $2.2 billion worldwide, $1.8 billion of which was in China.

And similar to the U.S., the Chinese film market has also been dented by the growth of short-form content and increasing popularity of watching entertainment on phones and tablets, keeping theatergoers at home.

That’s all meant a less reliable haul for U.S. films. So far this year, the top-grossing American film in China was Universal’s “Jurassic World: Rebirth,” which brought in $79 million — a far cry from the massive returns some U.S. movies once commanded. The last Disney film that was released in China and made more than $100 million was 2024’s “Alien: Romulus.”

But there are still niches that appeal to Chinese audiences, including family movies, big blockbusters laden with special effects and animated franchises. Cripps said he was “cautiously optimistic” about the film’s reception in China, because of the franchise recognition and the themed land in Shanghai.

“Given what’s happened over the last two to three years, it’s hard to get overly excited until you see some actual data,” he said. “But certainly, it feels good going into it.”

Great documentaries are sometimes lucky accidents, the product of being at the right place at the right time and then having the wherewithal to produce something extraordinary out of those unlikely circumstances. When director Julia Loktev traveled to Russia in October 2021, all she wanted was to chronicle a handful of smart, dogged journalists trying to tell the truth who, for their trouble, had been branded foreign agents by Vladimir Putin’s vindictive government. She didn’t know she would be arriving mere months before Russia’s full-scale invasion of Ukraine. But thanks to a quirk of coincidence, she ended up having a front-row seat to history.

She made the most of it: Running five-and-a-half hours without a minute wasted, “My Undesirable Friends: Part I — Last Air in Moscow” takes us inside TV Rain, one of Russia’s last independent television channels. Divided into five chapters, the documentary begins as Loktev, who was born in the former Soviet Union before leaving when she was 9, returns to her homeland armed with an iPhone to shadow veteran TV Rain reporter and host Anna Nemzer. Over the next four months, a period that ended shortly after the invasion began, Loktev embedded herself not just with Nemzer (who is credited as the film’s co-director) but several other journalists as they fear being arrested for their reporting.

Loktev hasn’t completed a film since 2011’s “The Loneliest Planet,” which starred Gael García Bernal and Hani Furstenberg as soon-to-be-wed lovers backpacking through the Georgian countryside, their seemingly close bond shattered after a harrowing encounter. In that movie and her previous feature, 2006’s “Day Night Day Night,” a spare procedural about a nameless suicide bomber in New York, Loktev explored the mysteries of human behavior under pressure. But with “My Undesirable Friends,” she takes that fascination to a new level, introducing viewers to a group of compelling subjects, many of them women in their 20s, who open up in front of her camera while hanging out at TV Rain, their apartments or in cafes, candidly processing their country’s terrifying descent into authoritarianism in real time.

These intrepid journalists couldn’t foresee the invasion that was coming, nor the brutal local crackdown on free speech in its wake, but Loktev makes those dire certainties clear from the start, solemnly intoning in voice-over, “The world you’re about to see no longer exists.” Since its premiere at last year’s New York Film Festival, “My Undesirable Friends” has been compared to a horror movie and a political thriller but perhaps more accurately, it’s a disaster film — one in which you know the characters so intimately that, when the awful event finally occurs, you care deeply about the outcome. (“My Undesirable Friends” bears the subtitle “Part I” because Loktev has nearly finished a second installment, which catches up with the women after they fled Russia.)

In its avoidance of interviews with experts or historians, the documentary offers a kind of personal scrapbook of Loktev’s subjects, showing what everyday life is like in an oppressive society: strikingly banal with a constant background hum of paranoia. Each woman comes into empathetic focus. Nemzer, who is a little older than her colleagues, balances her demanding job with marriage and motherhood. Meanwhile, her younger co-worker Ksenia Mironova keeps diligently filing stories despite her fiancé, journalist Ivan Safronov, being imprisoned for more than a year. (He would subsequently be sentenced to 22 years.) Investigative reporter Alesya Marokhovskaya has a girlfriend, whose face we never see, and eventually details grim memories of a violent childhood. And then there’s Marokhovskaya’s best friend and partner Irina Dolinina, who combats anxiety while her politically unconscious mother harangues her about not being able to find a man now that she’s been labeled a foreign agent.

The stress and uncertainty of these conversations is palpable but, remarkably, so is a spiky sense of humor. When a co-worker is temporarily locked up, Mironova cracks jokes outside his prison while awaiting his release. The journalists wear their foreign-agent designation as a badge of honor, mocking the comically lengthy disclaimer text they’re forced to run with their broadcasts, a pitch-black coping mechanism to make sense of their tense, surreal moment.

“My Undesirable Friends” captures dark times with some of the funniest people you’d ever hope to have as sisters-in-arms. Defiant, emotional and life-affirming, the film presents us with endearing patriots who love their country but hate its leaders, sucking us into a riveting tale with a powerful undertow.

The audience anticipates the frightening future that awaits these journalists, which makes their relentless advocacy all the more moving. If our 20s are a period of unbridled optimism — a hopefulness that slowly gets beaten out of us as we grow older — “My Undesirable Friends” stands as a touching display of the resilience of youth. There is nothing naive about these women who came of age during Putin’s cruel regime, but they nonetheless believe they can change things. While Loktev rarely inserts herself into this epic, we feel her admiration from behind the camera. The film inspires while it challenges: What were any of us doing at that age that was comparably heroic or meaningful? What are we doing now?

Those questions should stick in the craw of Americans who watch this masterwork. Loktev has made a movie about Russia but its themes spread far beyond that country’s borders. During a year in which the worst-case scenarios of a second Trump presidency have come to fruition, “My Undesirable Friends” contains plenty of echoes with our national news. The canceling of comedy shows, the baseless imprisonment of innocent people, the rampant transphobia: The Putin playbook is now this country’s day-to-day. Some may wish to avoid Loktev’s film because of those despairing parallels. But that’s only more reason to embrace “My Undesirable Friends.” Loktev didn’t set out to be a witness to history, but what she’s emerged with is an indispensable record and a rallying cry.

Diversity has taken a back seat in Hollywood, and Eva Longoria is taking notice.

In a recent interview with British publication the Times, the 50-year-old actor-director-producer spoke out about the lack of Latino representation on screen.

“We’re severely underrepresented in TV and film and it’s getting worse,” said Longoria. “Five years ago we [made up], like, 7% of TV and film and now we’re 4%. It’s actually going in the wrong direction.”

According to UCLA’s 2025 Hollywood Diversity Report, 1% of Latino performers were leading roles in top theatrical films, while 4.3% of Latino directors and 2.1% of Latino writers were involved in last year’s top films.

The report, released in February, found that the proportion of people of color working in entertainment roles dropped in every area from 2023 to 2024 when compared with their white counterparts. Actors of color made up 25.2% of lead roles in the top theatrical films in 2024, which is down from 29.2% in 2023. Also, directors of color accounted for 20.2% of 2024 movies, compared with 22.9% of films from the prior year.

This downward trend has popped up as President Trump has consistently targeted and called to end all diversity, equity and inclusion (DEI) efforts. As a result, much of Hollywood has followed his lead. Paramount Global changed its staffing goals related to gender, race, ethnicity and sex; Warner Bros. Discovery restated its DEI activities as “inclusion”; and Walt Disney Co. got rid of its “diversity and inclusion” performance standard used to calculate executive compensation.

“There is definitely a lot of work to be done. I’m trying to do my part,” Longoria told the Times. “That’s one of the main reasons I got behind the camera, to create opportunities for women and for people from my community.”

The “Desperate Housewives” actor made her directorial debut in 2023 with “Flamin’ Hot,” a biographical comedy about Richard Montañez, who says he invented Flamin’ Hot Cheetos.

She’s also currently working on “The Fifth Wheel,” a Netflix comedy starring Kim Kardashian, which she will direct. As for acting, her latest gig is in “Christmas Karma,” a movie musical released earlier this month, where she plays the Ghost of Christmas Past.

Elphaba and Glinda have changed the box office, at least for this weekend.

“Wicked: For Good” — the conclusion to Universal Pictures’ two-part film franchise — hauled in an estimated $150 million in the U.S. and Canada this weekend, marking the second-highest domestic opening this year, trailing only blockbuster hit “A Minecraft Movie.” Globally, the film grossed about $226 million.

The opening weekend audience for “Wicked: For Good” skewed even more female (69%) than the first film, which counted 61% of its viewers as women, according to data from EntTelligence.

Lionsgate’s “Now You See Me: Now You Don’t” came in a distant second at the domestic box office with $9.1 million. The third installment of the illusionist franchise has now brought in a cumulative $36.8 million in the U.S. and Canada and a total of $109.4 million globally across its two weekends.

Disney’s 20th Century Studios’ “Predator: Badlands,” Paramount Pictures’ “The Running Man” and “Rental Family” from Searchlight Pictures rounded out this weekend’s top five.

The Cynthia Erivo and Ariana Grande-led film was bolstered by a massive marketing push that began early last year before the first “Wicked” movie debuted. Though the films are based on the hit Broadway play, Universal wanted to expand awareness of the story to markets that had been less exposed to the theatrical show.

As a result, the franchise has partnered with more than 100 brands, including toy companies like Lego and Mattel as well as more unexpected firms such as household goods giant P&G and online Asian supermarket Weee!, where director Jon M. Chu serves as chief creative officer.

The film’s opening weekend success also points to a demand for female-focused franchises.

After 2023’s “Barbie” grossed $1.4 billion at the global box office, there were countless calls for more films geared toward women. But this year, many of the big-budget movies were male-leaning, and the narrower returns at the box office have prompted questions about whether films were reaching all possible demographics.

“Women continue to be a really underserved audience,” said Shawn Robbins, director of movie analytics at Fandango and founder of the website Box Office Theory. “In terms of large blockbusters, it’s been a minute since there’s been a female-skewing movie on the scale of ‘Wicked’ or ‘Lilo & Stitch.’”

SHE was the blonde beauty that was catapulted into the spotlight after a starring role in this iconic 1989 movie.

The beloved Disney film was a box office success that would go on to span another two spin-offs, with fans lapping up the characters’ pint-sized adventures.

Now all grown up, aged 54, the star recently took to Instagram and wowed with with some fun swimsuit photos while celebrating the film decades later.

Amy O’Neill was just 19 when she played the role of Amy Szalinski in the hit film Honey, I Shrunk The Kids – but her new pics show she seemingly hasn’t aged at all.

Amy stepped out for the Disney+ ‘Dive in Theatre’ screening of the original movie in a blue and pink racer swimsuit, ready to soak up the attractions on offer.

The former child star looked incredibly youthful and svelte in her swimwear, which she complemented with a wide wicker hat and a patterned blue beach skirt.

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In her Instagram caption, shared alongside the pictures, Amy enthused that the experience “transported us back to a different time and size”.

In one photo Amy is seen posing with a giant spoon and some giant ‘cheerios’ in a swimming pool, in what was a cheeky nod to her shrunken sized character.

The star later lounged poolside with her fellow movie-goers to rewatch the beloved movie and was snapped standing next to an old-school film screening sign bearing “Honey I Shrunk the Kids 1989 Now Showing”.

Talking to ABC’s On the Red carpet, Amy said: “This whole thing, when I saw the concept and got the invite I thought it was super cool.

“It’s been 36 years since Honey, I Shrunk the Kids came out.

“It’s only in the last couple of years that I’ve done fan events and I’ve gotten the chance to reconnect with fans and see how vibrant the movie still is in their lives and how meaningful it is to so many people.

Amy was also joined by co-star Thomas Wilson Brown, 51, who played Little Russ in the film, the neighbour’s offspring.

On her Instagram post, fans flocked to the comments, with one asking, “How was it reuniting with Thomas?”

Replying to her follower, Amy explained, “Wonderful as always. He brought his grandson to the screening- so adorable!”

While another said, “Just amazing! A shame the other child actors are absent!”

Amy replied, “I wish they’d been there also- but I wish all of you had been there too!”

A third fan penned, “Wow, that Thomas guy grew up to be a hottie!!”

Another added, “Another of my favourite classic comedy of 80s, everything looks great.”

“Nice pictures Amy O’Neill and Thomas Wilson Brown and you’re looking well by being grown up,” said a fifth in the comments.

Someone concluded, “Very cool. Still one of the best movies of the 80s.”

The award-winning classic movie, starring Rick Moranis and Marcia Strassman, celebrated its 36th anniversary this year.

Amy played Moranis’ daughter in the movie, which produced two sequels, Honey, I Blew Up The Kid in 1992 and Honey, We Shrunk Ourselves in 1997.

The original followed the chaos that ensued when scientist Wayne Szalinksi (Moranis) accidentally minimised his children and the neighbour’s kids.

Ghostbusters star Moranis went on to star in Parenthood, The Flintstones and the two sequels to Honey, I Shrunk the Kids.

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As for O’Neill, she had TV roles in Murder, She Wrote and The Young and Restless before Honey, I Shrunk the Kids.

She also appeared in the 1989 Christian Slater film Desperate for Love.

Life has a way of taking things from us that we think we can’t do without. Often that means the death of a loved one, but sometimes it can be home — and with it, our grounding in the world. When we meet Dusty, the laconic protagonist of “Rebuilding,” he has already lost so much. His marriage is over. His parents have been dead and buried for quite a while. But as this modest drama begins, Dusty is grappling with the most crushing of blows: His cherished 200-acre family ranch in Colorado has burned down in a devastating wildfire. He survived but he might as well be a ghost.

Dusty is played by Josh O’Connor, who lately has cornered the market on sensitive, passive outsiders. With his wiry frame and shy eyes, the British actor has demonstrated in films such as “La Chimera” and “The Mastermind” an appetite for soft-spoken characters who exude a gentle masculinity. We don’t know if Dusty’s voice is noticeably hushed because of his recent tragedy, but as he tries to pick up the pieces, this lonesome cowboy drifts through his days, doing his best to pretend he’s holding up OK.

Writer-director Max Walker-Silverman’s second feature shares with his first a sympathy for strong, silent types. His flinty 2022 debut “A Love Song” was drenched in melancholy, casting Dale Dickey and Wes Studi as aging childhood friends reunited, a tentative romance faintly sparking. Similarly, “Rebuilding” is a tale of grief and what-ifs populated by everyday folks who speak in terse tones. The movie radiates the spare, rugged poetry of a short story or a John Prine song. (Fittingly, the musician appears on the soundtrack.)

O’Connor keeps Dusty’s inner life a mystery as he reluctantly moves into a beat-up trailer at a temporary FEMA camp, struggling to make it hospitable for his grade-school daughter Callie-Rose (Lily LaTorre), who primarily lives with Dusty’s ex-wife Ruby (Meghann Fahy) and Ruby’s boyfriend, Robbie (Sam Engbring). Dusty is not a bad father or a snide former spouse — everybody in his orbit likes him, including Ruby’s ailing mother Bess (Amy Madigan). But when Callie-Rose informs Dusty that Ruby said he underachieved in school, we believe her. “Rebuilding” doesn’t reveal much about Dusty before the ranch was incinerated, but what eventually becomes clear is that he’s always been something of a disappointment.

It’s a performance that requires O’Connor to hint at an ineffable void. The character operates at a remove from even those closest to him — he has a kindly spirit, but he can’t quite connect. Dusty and Ruby were adolescent sweethearts, but the audience doesn’t need to know the whole backstory to guess why they broke up. He’s the kind of guy weighed down by an internal inertia, asleep while standing up, stuck in a rut. At least he had his ranch. But after the wildfire, Dusty’s omnipresent cowboy hat is all that remains from the only life he’s ever known.

In keeping with Walker-Silverman’s naturalistic approach, “Rebuilding” eschews a conventional plot, instead observing Dusty’s negotiation of an outside world he’s tried to avoid. He gingerly makes friends at the FEMA camp, most memorably with Mila, depicted with gruff authenticity by Kali Reis. This de facto support group has no big inspirational speeches to offer Dusty, just a weary resilience to keep going because, really, what else can they do? Some of the film’s finest moments involve O’Connor ceding the spotlight to his co-stars, each of them so offhandedly genuine one might assume Walker-Silverman gathered actual wildfire survivors.

The movie’s verisimilitude may trigger some Los Angeles viewers who know all too well the pain of recovering from a natural disaster. When “Rebuilding” premiered at Sundance in January, Southern California festivalgoers couldn’t help but feel a queasy déjà vu: The Eaton and Palisades fires were still raging, destroying communities and displacing so many. That horror and sorrow loomed heavy over those initial screenings, and no doubt for many in our city, 10 months will hardly be enough time to enter the proper headspace to appreciate Dusty’s processing of his disorienting new normal.

But while Walker-Silverman couldn’t have imagined his movie’s jarring real-world parallels, “Rebuilding” is as much a character study as it is a warning about our increasingly fragile planet and the beloved places we call home. The story’s studied minor-key tone can occasionally come across as mannered, yet “Rebuilding” possesses its own delicate grace, especially once Dusty endures other losses — some personal, others more existential. Walker-Silverman introduces a minor twist near the end that comes across as a little too narratively convenient, but one can hardly begrudge him seeking a sliver of hope for those whose sense of place has been obliterated. As Dusty learns, when you’ve lost nearly everything, all you’ve got is whatever’s left behind.

Six years ago, when San Jose author Katie Keridan joined Disney+, the cost was just $6.99 a month, giving her family access to hundreds of movies like “The Lion King” and thousands of TV episodes, including Star Wars series “The Mandalorian” with no commercials.

But since then, the price of an ad-free streaming plan has ballooned to $18.99 a month. That was the last straw for 42-year-old Keridan, whose husband canceled Disney+ last month.

“It was getting to where every year, it was going up, and in this economy, every dollar matters, and so we really had to sit down and take a hard look at how many streaming services are we paying for,” Keridan said. “What’s the return on enjoyment that we’re getting as a family from the streaming services? And how do we factor that into a budget to make sure that all of our bills are paid at the end of a month?”

It’s a conversation more people who subscribe to streaming services are having amid an uncertain economy.

Once sold at discounted rates, many platforms have raised prices at a clip consumers say frustrates them. The entertainment companies, under pressure from investors to bolster profits, have justified upping the cost of their plans to help pay for the premium content they provide. But some viewers aren’t buying it.

Customers are paying $22 more for subscription video streaming services than they were a year ago, according to consulting firm Deloitte. As of October, U.S. households on average shelled out $70 a month, compared to $48 a year ago, Deloitte said.

About 70% of consumers surveyed last month said they were frustrated the entertainment services that they subscribe to are raising prices and about a third said they have cut back on subscriptions in the last three months due to financial concerns, according to Deloitte.

“There’s a frustration, just in terms of both apathy, but also from a perspective that they just don’t think it’s worth the monthly subscription cost because of just fatigue,” said Rohith Nandagiri, managing director at Deloitte Consulting LLP.

Disney+ has raised prices on its streaming service nearly every year since it launched in 2019 at $6.99 a month. The company bumped prices on ad-free plans by $1 in 2021, followed by $3 increases in 2022 and 2023, a $2 price raise in 2024 and, most recently, a $3 increase this year to $18.99 a month.

Disney isn’t the only streamer to raise prices. Other companies, including Netflix, HBO Max and Apple TV also hiked prices on many of their subscription plans this year.

Some analysts say streamers are charging more because many services are adding live sports, the rights to which can cost millions of dollars. Streaming services for years have also given consumers access to big budget TV shows and original movies, and as production costs rise, they expect viewers to pay more, too.

But some consumers like Keridan have a different perspective. As much as some streaming platforms are adding new content like live sports, they are also choosing not to renew some big budget shows like “Star Wars: The Acolyte.” Keridan, a Marvel and Star Wars fan, said she mainly watched Disney+ for movies such as “Captain America: The Winter Soldier” and shows like “The Mandalorian.” Now she’s going back to watching some programs ad-free on Blu-Ray discs.

While Keridan cut Disney+, her family still subscribes to YouTube Premium and Paramount+. She said she uses YouTube Premium for workout videos instead of paying for a gym membership. Her family enjoys watching Star Trek programs on Paramount+, like the third season of “Star Trek: Strange New Worlds,” Keridan said.

Other consumers are choosing to keep their streaming subscriptions but look for cost savings through cheaper plans with ads, or by bundling services.

“Consumers are more willing today than ever to withstand advertising and for the sake of being able to get content for a lower subscription rate,” said Brent Magid, CEO and president of Minneapolis-based media consulting firm Magid. “We’ve seen that number increase just as people’s budgets have gotten tighter.”

Keridan said she’s already cutting other types of spending in her household in addition to quitting Disney+. The amount of money her family spends on groceries has gone up, and in order to save cash, they’ve cut back on traveling for the year. Typically, Keridan says, they would go on two or three vacations annually, but this year, they will only go to Disneyland in Anaheim.

But even the Happiest Place on Earth hasn’t escaped price hikes.

“Just as the streaming fees have risen, park fees have risen,” Keridan said. “And so it just seems every price of anything is rising these days, and they’re now directly in competition with each other. We can’t keep them all, so we have to make hard cuts.”

Do you like your “Wicked” sweet or sour?

How you answer may be the key in how much you enjoy the sequel, “Wicked: For Good,” which opens today and is on track to sell more tickets in its first weekend than its predecessor.

Will the new movie once again cast a spell at the Oscars? The answer, for the moment, is confusifying.

I’m Glenn Whipp, columnist for the Los Angeles Times, host of The Envelope newsletter and someone hoping to see a movie at the Village before the Olympics land in L.A. in 2028. Which film should they book to kick off its revival?

‘Wicked’ can’t defy gravity this time

Cynthia Erivo, left, and Ariana Grande perform at the 97th Academy Awards in March.

(Myung J. Chun / Los Angeles Times)

Who wasn’t charmed by the first “Wicked” movie last year? Film critics gave it more than a pass, with reviews scoring a respectable 73 grade on aggregator site Metacritic. Audiences loved it, powering the film to a $758 million worldwide box office haul. And Oscar voters fell in line, rewarding “Wicked” with 10 nominations and wins for production design and costumes. Gratitution abounded.

Repeating success is a taller order, our beloved Dodgers notwithstanding. As noted, multiplexes should be full this first weekend and, you’d expect, the lucrative Thanksgiving weekend as well. But the reviews haven’t been as kind this time around. “Wicked: For Good” sits at a 60 on Metacritic. Empire magazine’s review sums up the sentiment: “‘Wicked: For Good,’ sure — but not quite Wicked: For Great.”

Sequels rarely land as well as the original film, so the drop-off isn’t surprising. And, if you’ve seen the Broadway musical, you already knew this was coming. All the best songs are packed into the show’s first act, culminating in the soaring, sustaining final notes of “Defying Gravity.” But you can only beat that gravitational force for so long before you fall flat on the ground.

That splat you hear is “Wicked: For Good.”

Not everyone feels that way. The Vulture review sports the grabby headline: “‘Wicked: For Good’ is actually better than the first.” Times film critic Amy Nicholson agrees in her write-up titled: “The first one was a candy-colored slog, but ‘Wicked: For Good’ is pleasantly sour.”

Which brings me back to the question I first asked you: What are you looking for in a “Wicked” movie? I enjoyed all the spirited dancing and singing and, yes, the bright, candy colors of the first movie. You want a slog? The sequel takes almost an hour to bring together the two characters you truly care about — Elphaba and Glinda.

To get to that moment, you have endure a lot of filler, as if the musical doesn’t have enough material to sustain two movies totaling nearly five hours. (It doesn’t.)

The so-so critical reaction shouldn’t keep “Wicked: For Good” from picking up a best picture nomination, provided the movie’s fans keep showing up at theaters through the end of the year. With so many high-profile festival films — “The Smashing Machine,” “After the Hunt,” “Die My Love” among them — failing to connect with audiences and critics, there’s room at the inn. Academy voters will likely keep the light on.

Equaling the first film’s 10 nominations will be difficult. Cynthia Erivo and Ariana Grande opened the Oscars ceremony last year in spectacular fashion, but a reunion might not be in the cards. The pair were arguably co-leads in the first movie. “For Good” belongs more to Glinda than Elphaba, charting the Good Witch’s journey from complacency and compliance to … less complacency and compliance. Maybe Glinda’s going to learn from all this and take principled stands moving forward, though the movie doesn’t do enough to convince me. Grande’s dimple has more depth.

Still, Grande figures to score another supporting actress nomination and, who knows, she may well win. Voters love big theater-kid energy in this category, giving Oscars to Jennifer Hudson (“Dreamgirls”), Anne Hathaway (“Les Misérables”), Ariana DeBose (“West Side Story”) and Zoe Saldaña (“Emilia Pérez”) in recent years.

Erivo, placed in the more competitive lead class, might not be as fortunate, as she no longer centers the movie. She still masterfully conveys Elphaba’s vulnerability and sadness, but she’s also saddled with a chemistry-free love story with Capt. Fiyero (Jonathan Bailey). I won’t count her out. But Erivo could well lead the “snubs” and surprises list come nominations morning.

Repeat nominations in production design and costume design, the two Oscars the first movie won, seem safe bets. Hair and makeup does too, as does sound since voters love movies heavy on music. “Wicked: For Good” might pick up another nomination in the newly created casting category, as it won’t be a spot where voters feel like they’re repeating themselves. And while the first movie didn’t have any new songs, “For Good” sports two. Look for “The Girl in the Bubble,” sung by Grande, to pop.

Eight nominations? That’d be a win. The loss would be if “Wicked: For Good” followed the path of the two “Black Panther” movies. The first, a critical, commercial and cultural sensation, earned seven nominations, including best picture, and won three Oscars. The less-regarded sequel picked up five nods, winning one. It was not nominated for best picture.

Sometimes being popular isn’t enough.

Read more coverage of ‘Wicked’

Want to hear Ariana Grande, actor, playing Ariana Grande, pop star? Make sure you have a ticket for her Eternal Sunshine Tour next summer, because after that she’s not planning to do another one any time soon.

In fact, she’s calling the tour her “one last hurrah.”

“I’m very excited to do this small tour, but I think it might not happen again for a long, long, long, long time,” she said Tuesday on the “Good Hang With Amy Poehler” podcast. “So I’m going to give it my all and it’s going to be beautiful and I think that’s why I’m doing it, because it’s like, one last hurrah.”

One. Last. Hurrah.

Grande is a mere 32 years old. That said, her last tour had 97 shows on two continents in less than a year. We would be tired of it too.

The 2026 tour, which runs from June 6 to Sept. 1, hits only 10 cities with multiple dates in each. Tickets went on sale a couple of months back, but there’s always the resale market.

Also, Ariana Grande the actor is very busy at the moment, with more going on than simply “Wicked: For Good” promotion. That obligation, though, has taken her all over the world for multiple premieres, including one in Singapore last week where she was accosted on the yellow carpet by a self-proclaimed troll looking to glom onto her fame and make it his own. (He is currently in jail.)

She has also been busy filming “Focker In-Law,” the fourth installment in the somewhat unlikely “Meet the Fockers” franchise.

“It’s just so great to sort of experience a new, new journey and learn from those around me,” one that includes Ben Stiller, Robert De Niro and Beanie Feldstein, she told Poehler.

The host said it sounded like this movie was “much less physically exhausting” than her work in “Wicked,” but Grande begged to disagree.

“I’m not sure I’m supposed to say this, but I have to say it ’cause you’re going to laugh your ass off. My character’s a triathlete,” she explained.

“Oh nooooo!” Poehler said. “So you’re always running?”

“I spent yesterday doing burpees and high knees with Robert De Niro, and he’s like, ‘Good job, Olivia. Good job,’” said the “Thank U, Next” singer, whose character is named Olivia Jones. “It’s like the craziest, most — I’m like, what is this movie? What are we doing? But I’m having a blast.”

There’s no corset, like Glinda wore, in “Focker In-Law.” No posture-altering shoes, according to Grande. But Stiller and De Niro are both big runners in their free time, which apparently starts in the neighborhood of 4:40 a.m. As for Ariana?

“There’s a lot of biking in this movie. Like a lot lot lot lot.”

No rest, apparently, for the wicked.

Welcome back to another Oscar season!

I’m Matt Brennan, editor in chief of The Envelope, and each Wednesday from now until Jan. 7, I’ll be sending you a (digital) editor’s letter with some highlights from our Phase I issues.

Our first issue of the 2025-2026 campaign features stories on documentaries, films about the Palestinian experience and “Marty Supreme’s” Odessa A’zion.

A Deeper Dive: Documentaries

(Illustration by Daniel Stolle / For The Times)

I won’t pretend to be Nostradamus when it comes to Hollywood’s top awards — my Gold Derby Emmys ballot didn’t even crack the top 1,000 — but most anyone who ran into me at this year’s Sundance Film Festival heard at least one bold prediction that turned out to be correct: 2025 has been a sterling year for documentaries.

With journalists under attack in the U.S., Ukraine, Gaza and beyond, the form’s close connection to reportage has never felt more urgent, at least not to me. In the contraband prison images of “The Alabama Solution,” the body camera footage of “The Perfect Neighbor,” the conflict coverage of “2000 Meters to Andriivka” and “Love + War,” the portraiture of “Cover-Up” and much more besides, the year’s finest documentaries — no, the year’s finest films — manage to unearth new ways of seeing our society’s most pressing issues, often with more precision and subtlety than scripted films much longer (and costlier) in the making.

To that end, this week Steve Dollar asks the filmmakers behind five of the year’s many worthy nonfiction films — “Apocalypse in the Tropics,” “Folktales,” “Predators,” “Seeds” and “The Tale of Silyan” — to share what images became the keystone of their latest projects.

Digital Cover: Odessa A’zion

(Christina House / Los Angeles Times)

I can confirm Tim Grierson’s reporting that Odessa A’zion is a hugger: I received several myself from the “Marty Supreme” and “I Love L.A.” performer when she stopped by The Times newsroom recently for an Envelope digital cover shoot, her own 16mm still camera in hand.

As Grierson notes of the actor, A’zion “doesn’t behave like a rising star” — and she’s not particularly comfortable with the label, either.

“A’zion has heard those predictions before, so she’s wary about being anointed the next big thing,” he writes. “After all, she remembers all the auditions that went nowhere. She remembers being behind on her rent. She remembers almost being evicted. She remembers getting fired from gigs. Simply being cast in a Josh Safdie film doesn’t make those old wounds disappear. ‘To all of a sudden be like, “OK, I’m done [worrying about my career]!” — I don’t see that feeling coming anytime soon.’”

A trio of Palestinian films in the international feature race

A scene from “All That’s Left of You.”

(Watermelon Pictures)

Palestinian stories are no stranger to awards season. But this year, as Gregory Ellwood writes, a trio of films from female directors — each submitted by a different country and each set in a different time period — make for a particularly remarkable confluence.

“In a way, the movie lived what most Palestinians live: war, exile, fleeing,” “All That’s Left of You” filmmaker Cherien Dabis told Ellwood of her film having to shift production after the outbreak of the Israel-Gaza war. “All of the uncertainty, the financial and logistical crisis of it all. I think that what really grounded me during that time was just knowing that the movie was more relevant than ever, and that it had to get done.”

Read more on “All That’s Left of You,” “Palestine 36” and “The Voice of Hind Rajab.”

Additional highlights from our Nov. 20 issue

Movies can become forever memorable through the magic of a singular image, that celebrated “one perfect shot” that illuminates everything before and after it. The Envelope asked directors of five awards-contending documentaries to talk about the shot their film couldn’t live without.

‘Apocalypse in the Tropics’

Director Petra Costa’s sequel to “The Edge of Democracy” (a 2020 Oscar nominee) examines the powerful role played by evangelical Christianity in Brazilian politics and the rise of far-right former President Jair Bolsonaro.

“I chose the shot of the Statue of Justice, decapitated and upside down,” says Costa, describing a scene in front of the Supreme Federal Court in Brasilia after Bolsonaro’s supporters sacked the nation’s seat of government on Jan. 8, 2023. “[It] symbolizes much of this story on many levels. This film is ultimately using Brazil as a metaphor for the current crises of our democracies worldwide. This picture symbolizes how violent speech is, not just violent speech. It produces violent action, and that was what brought Bolsonaro to power.”

‘Folktales’

Rachel Grady and Heidi Ewing’s “Folktales”

(Magnolia Pictures)

Directors Heidi Ewing and Rachel Grady (2007 Academy Award nominees for “Jesus Camp”) follow a group of adolescents through a year at a traditional Norwegian folk high school.

“The first time you see the Tree of Life in the movie,” says Ewing, describing a powerfully symbolic image in the story, “it’s shot from below. It’s a wide angle and it’s almost like a creature. I call it Guillermo del Toro’s tree, because it’s knotty and dead, but it’s everything. It’s breathtaking and there was no other tree like it in the forest. It inspired the whole layer in the film that became the myth of Odin and using Norse mythology as a metaphor for growing up, and we use the tree as our centerpiece.”

‘Predators’

Director David Osit (“Mayor”) unpacks the complex and disturbing legacy of the TV exposé “To Catch a Predator,” which became a pop-culture phenomenon during its run in the mid-aughts.

“So much of my film is about looking at images, and part of it was me looking at images … and really just thinking: The only way I know how to make this movie is I’ve got to give someone the experience I’m having, making the film and looking at material. So there was an image that I filmed, but it didn’t mean anything to me until I saw it. And that’s the image that I chose. There’s this moment in the film where I’m interviewing Dan Schrack, who is one of the decoys who … was involved in what happened in Texas. [The subject of the show’s sting operation took his own life, which led to the show’s cancellation.] I’m having him look at some pictures, and I get a shot from behind him. What I didn’t notice during the filming … was my reflection, perfectly placed in a small mirror. Only for a split second did I think to myself, ‘Oh no, I ruined the shot.’ Immediately afterwards, I felt a deeper understanding … that I couldn’t take myself out of this movie. It wasn’t my intent to be in it, but more often than not, documentaries neuter and make invisible the acts of their creation. And every single time I tried to film this movie, the opposite was happening. My identity, my motivations, my interests kept asserting themselves, and that shot was it. That was the shot where I realized what the film was.”

‘Seeds’

Carlie Williams in “Seeds.”

(Brittany Shyne)

Shot in black and white, Brittany Shyne’s debut feature explores the lives and challenges of Black farmers in south Georgia.

“The scene that I always go back to is with Carlie Williams, the 89-year-old farmer,” Shyne says. “It’s a moment when we’re in his house, and he gets up from his chair, and he goes over to tend to his daughter, Lois. I really like that moment, because we could see a father who’s utterly devoted to his child, making sure that her health is OK. I love that moment of tenderness, because that is something I try to view throughout the whole film, this kind of familial care that we see between generations.”

‘The Tale of Silyan’

(National Geographic Documentary Films)

The Macedonian film, from 2020 Oscar nominee Tamara Kotevska (“Honeyland”), is the story of Nicola, who rescues an injured stork from a landfill after the collapse of his family farm.

“The moment when Nicola captures the stork,” Kotevska says. “It completely changed the course of the film and the story itself. We thought that it was going to be more of a sad story, but it ended up being more of a hopeful story — not a happy one, but a hopeful one. It eventually became a story of a man saving a stork and a stork saving a man.”

If you agree with filmmaker Alejandro G. Iñárritu that Tom Cruise “doesn’t just make movies — he is movies,” then the Oscar that Cruise received at the motion picture academy’s annual Governors Awards wasn’t just long overdue. It was a restoration of balance, a necessary correction, not to mention a nod to the sheer weight of Cruise’s body of work in the collective imagination.

When multi-hyphenate Debbie Allen, herself an honoree, worked in a reference to the “tighty-whities” Cruise wore sliding across the floor in “Risky Business” into her own acceptance speech, you could understand why he received the night’s longest ovation. He really is movies. In one way or another, he completes us.

Cruise, 63, was still shaking hands and posing for pictures long after the ceremony ended Sunday night. He may in fact still be in the Ray Dolby Ballroom, listening to people tell him giddy and sometimes teary stories of when they first saw him in a movie. After Iñárritu introduced him, Cruise delivered a gracious, cinema-booster speech, at one point asking everyone in the room who had worked with him to stand.

“I carry you with me, each of you, and you are part of every frame of every film I have ever made or ever will make,” Cruise said. And yes, he was in alignment with Iñárritu. “Making films is not what I do. It’s who I am.”

Trailblazer Wynn Thomas, widely recognized as the first Black production designer in film, and Dolly Parton also received Oscars at the Governors Awards ceremony. These honorary Oscars, once part of the televised Academy Awards, were spun off into their own event in 2009.

Parton, 79, was given the Jean Hersholt Humanitarian Award. Health issues, which led to a postponement of her December Las Vegas residency, prevented Parton from attending in person. But she thanked the academy by video, saying, “We didn’t have too much to share, but my mama and daddy showed me that the more you give, the more blessings come your way. And I have been blessed more than I ever dreamed possible, like with this award tonight.”

Lily Tomlin, Parton’s “9 to 5” co-star, gave a delightful, digressive introduction. Capping the presentation, Andra Day sang a spine-tingling cover of Parton’s classic “Jolene.”

The Governors Awards are not televised and, as Will Arnett, introducing the evening, noted, “There are no commercial breaks. The orchestra is not waiting to play anybody off. There is nothing stopping us from doing this until the sun comes up.” The relaxed nature of the show gives honorees room to roam with their speeches and also offers current Oscar contenders a chance to schmooze with voters.

In one corner of the ballroom, you might find filmmakers Richard Linklater, Noah Baumbach and Joachim Trier engaged in a debate over who is better, Jean-Luc Godard or Francois Truffaut, a French New Wave throwdown inspired by Linklater’s sly homage “Nouvelle Vague.” Across the room, Sydney Sweeney, meeting Cruise for the first time, compared notes on broken bones. Outside, Iñárritu told director Ryan Coogler (“Sinners”) about his upcoming movie, starring Cruise. (“It sounds crazy,” Coogler said.)

Cruise was on everyone’s mind, except perhaps Spanish filmmaker Oliver Laxe, director of the superb thriller “Sirāt,” who did not know the actor was receiving an honorary Oscar. People offered me their favorite Cruise movies. Director Eva Victor (“Sorry, Baby”) went with “Edge of Tomorrow.” Shih-Ching Tsou (“Left-Handed Girl”) chose “Top Gun.” (“I fell in love,” she says.) And Coogler went with a wild card, picking the compulsively rewatchable 1988 comedy “Cocktail.”

“It was my parents’ favorite movie, so I saw it all the time,” Coogler says. “I know it’s nonsensical.”

Ethan Hawke, who made “The Last Movie Stars,” a six-part documentary on Paul Newman and Joanne Woodward, recalled how Newman didn’t want his honorary Oscar in 1986. He hoped to win one outright. A year later, he took the lead actor trophy for “The Color of Money,” which, yes, co-starred Cruise.

“Cruise should have won for ‘Magnolia,’ one of the best performances of my lifetime,” Hawke told me. “My suspicion is that this will be the first of many Oscars for Tom Cruise. He’ll get this honorary one and then four more in the next 20 years.”

Thomas, it could be argued, should have won a competitive Oscar years ago for any number of movies, including his striking work creating the single block setting in Brooklyn’s Bed-Stuy neighborhood for Spike Lee’s “Do the Right Thing.” Relating his journey to becoming a visual storyteller, Thomas recalled growing up in “one of the worst slums of Philadelphia,” sitting on his front stoop reading Shakespeare, James Baldwin and Tennessee Williams, immersed and transported.

“The local gangs looked down on me and called me sissy,” Thomas said. “But that sissy grew up to work with some great filmmakers.”

Presenting Allen with her Oscar, “Wicked’s” Cynthia Erivo said “to know Miss Debbie is to know that she refuses to let dreams fade and has a determination to make them happen.”

“I myself am fortunate enough to consider her my auntie,” Erivo added.

Allen’s five-decade career includes choreographing the Oscars seven times, as well as films including “Forget Paris” and “A Jazzman’s Blues.” Her producing credits include Steven Spielberg’s 1997 historical drama “Amistad.” She’s probably best known as an actor on the ’80s television series “Fame,” for which she also served as a choreographer. Her nonprofit dance academy is a Los Angeles institution.

Allen namechecked the Dodgers, her husband (the Los Angeles Lakers legend Norm Nixon) and, of course, Oscar.

“It’s like I got married … sorry, Norm,” she said, cradling the statue. “I’m definitely taking him to work with me and keeping him close to remind me, not of what I’ve done, but what I get, need and have to do.”

How do you find inspiration? Say you’re doing your holiday shopping and you’re struggling to find the perfect gift for that difficult person on your list — parent, partner, paramour. How do you let your mind drift to a place where the clouds part and you achieve a sort of awakening?

To be honest, I don’t always get there. But caffeine is usually a good place to start.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter, back in your inbox for the next few months as we sail through the atmospheric river of awards season. Climb aboard.

Cover story: The best six minutes in movies this year

(Bexx Francois / For The Times)

You might remember how much I love “Sinners,” Ryan Coogler’s audacious, genre-defying blockbuster that explores the intrinsic power of American blues music and Black life in the Jim Crow South within the context of a vampire horror movie.

So I was thrilled to talk with Coogler and his longtime department heads — a movie family that includes Oscar winners who have been with him since his 2013 debut, “Fruitvale Station” — for The Envelope’s first cover story of the season. There were a dozen different ways I could have gone with the piece, but our conversations kept coming back to the scene in the juke joint when young Sammie (Miles Caton) conjures spirits from the past and future onto the dance floor.

How did Coogler summon this scene? It goes back to that question I asked at the outset: How do you find inspiration?

For Coogler, “Sinners” began on Nov. 17, 2021, a date fixed in his mind because it was the day one of his favorite rappers, Young Dolph, was murdered. Coogler was devastated. And his mind drifted back to Nipsey Hussle, the L.A. rapper gunned down outside his South L.A. clothing store in 2019. Coogler was living in Los Angeles at the time, trying to get a “Space Jam” sequel off the ground.

“I felt like I had my heart ripped out, bro,” Coogler told me. “I have two younger brothers I’m really close with, and I remember reading an article in the L.A. Times about his older brother recounting what happened. It just broke me. And then I get the news that Dolph’s been killed in his hometown, and I just remember feeling, ‘I’m done with rap, man.’”

Later, Coogler spoke with his friend, “Black Panther” producer Nate Moore, lamenting that rappers who talk about their lives, beating the odds and escaping hardship, sometimes end up succumbing to the thing they thought they left behind. Moore isn’t a rap guy, but told Coogler that his favorite music, grunge, was just like that — in this case, artists addressing their struggles with depression and addiction and then, on occasion, overdosing or taking their own lives.

Toward the end of that day, Coogler was driving back from the set of “Black Panther: Wakanda Forever.” Passing through Byron, Ga., the Oakland native looked out his window and saw, for the first time in his life, a cotton field. During our interview, Coogler pulls out his phone and finds a video his sister-in-law shot of him taking it all in and picking a sprig of cotton. Coogler kept it, eventually putting it on his work desk at home.

“That was a part of finding ‘Sinners,’” Coogler says. “The other thing that happened was I started listening to grunge music, taking a break from rap. And as soon as I put the music on, I was like, ‘Yo, this feels like my uncle’s. It led me right back to his record collection.”

That uncle, James Edmonson, loved the blues. Coogler’s cousin, Edmonson’s youngest daughter, told the filmmaker about a Bill Withers’ song, “I Can’t Write Left-Handed,” written from the perspective of a Vietnam veteran. Coogler listened to it, and it reminded him of “Rooster,” the Alice in Chains song written by guitarist Jerry Cantrell for his father, who served in Vietnam.

“So I’m playing these two songs one after another, and I’m like, ‘These genres that you wouldn’t find next to each other at a Tower Records back in the day, they’re so close,’” Coogler says. “And studying the history of it, it’s people playing it different, but it’s the same idea.”

“And that’s when I realized I had to make ‘Sinners.’”

Coogler scrolls through his phone and shows a picture of the cotton sprig on his desk. He dedicated “Sinners” to his uncle, who died about a decade before it arrived in theaters.

“So many cosmic moments came together for this movie,” Coogler says. “I was always like, ‘All right. I just gotta make sure I don’t f— it up.’”

The Palestinian experience has been a mainstay of global cinema for decades. Despite countless obstacles, the Palestinian Ministry of Culture has submitted 18 titles for the international feature Oscar since 2003, earning nominations in 2006 and 2014. But this year, at a pivotal moment in its history, three films from acclaimed female filmmakers, each set in war-torn Gaza, are up for Oscar consideration: Annemarie Jacir’s Palestinian entry, “Palestine 36,” Cherien Dabis’ “All That’s Left of You,” representing Jordan, and Kaouther Ben Hania’s “The Voice of Hind Rajab,” selected by Tunisia. It’s a remarkable field, one that Jacir believes is more a coincidence than a reflection of the political climate.

“I think that there’s so many Palestinian filmmakers and people have been doing a lot of work for a long time,” Jacir says. “I remember when I made my last film, there were three films shooting at the same time.”

From the outbreak of the Arab revolt in 1936 to the generational trauma of the capture of Jaffa during the Arab-Israeli 1948 war to the current Israel-Hamas war, each film has a distinct and important story to tell. Notably, both “Palestine 36” and “All That’s Left of You” were scheduled to begin production in Palestine just days after Israel began an aerial assault in October 2023 in response to the Hamas-led attack Oct. 7.

After struggling just to get the movie off the ground, Jacir says the real-time events made it difficult to “keep going emotionally, mentally, financially.”

“Nothing was clear,” she says. “We just didn’t know if we would really be able to shoot, if we would be able to start something, if we would be able to finish … We were just making it up as we went along and hoping for the best. It’s sort of a mix of, I would say, stubbornness and perhaps stupidity.”

Saleh Bakri and Cherien Dabis in “All That’s Left of You.”

(Watermelon Pictures)

Concurrently, Dabis had been prepping with a Palestinian crew for five months with the intention of shooting the entire project there, only to be forced to make the “devastating” decision to shift production to Jordan, Greece and Cyprus. (Hopes of eventually returning were dashed.)

“In a way, the movie lived what most Palestinians live: war, exile, fleeing,” she says. “All of the uncertainty, the financial and logistical crisis of it all. I think that what really grounded me during that time was just knowing that the movie was more relevant than ever, and that it had to get done.”

The stark reality of the civilians under constant fire, and in a much worse position than Jacir, motivated her team to continue with “Palestine 36.” She bluntly observes, “We had no right not to, you know what I mean? It’s like we are the privileged ones, actually. We’re not in Gaza. It didn’t feel like it was an option for any of us to stop because they weren’t stopping and it was like, ‘Well, we do it for them too.’”

Depicting the humanity of the Palestinian people, who have suffered mightily under the current occupation, is one reason why Ben Hania felt such urgency in bringing the harrowing final hours of 6-year-old Palestinian girl Hind Rajab to the screen less than a year and a half after her death under Israeli fire.

Dhafer L’Abidine and Yasmine Al Massri in “Palestine 36.”

(Watermelon Pictures)

“There was something about silencing their voices [that] was completely abhorrent for me, and I know that cinema is the place for empathy and the place where you can put face and raise the voice,” Ben Hania says. “So, for me it was part of saying, ‘Stop this dehumanization of Palestinian victims.’ You see the pain in this movie, you can feel the sense of what is happening.”

Despite critical accolades and, in the case of “Voice,” a record standing ovation at the Venice Film Festival, none of these submissions were able to secure major distributors in the U.S. “Voice of Hind Rajab” is being released by relatively new player Willa, while both “Palestine 36” and “All That’s Left of You” are set for release by Watermelon Pictures, traditionally a production entity. (Oscar-winning documentary “No Other Land” was self-released in cinemas and, last month, on streaming platforms.) Ben Hania says that is nothing new: Films about Palestine simply don’t reach U.S. audiences.

“I’m frustrated because as a filmmaker, when you do a movie, you want everybody to see it, especially this one,” Ben Hania says. “So, I mean, yeah, it’s a huge frustration, but I can’t put a gun [to a] distributor and tell them, ‘Distribute my movie.’ When you do movies, you have several obstacles, and this is one of them.”

Despite the hurdles, Jacir says she has never had so many people want to know the historical background behind one of her movies.

“People are curious,” Jacir says. “Before people used to say, ‘Oh, it’s very complicated and let’s leave it. I don’t want to know because it’s too complicated.’ I don’t think people are like that anymore. I don’t think the new generation is like that anymore. I think people really want to know, and they want to see these stories and they’ll make their own judgments and thoughts, and they’ll have their own feelings about it.”