There are 35 foot waves in Santa Cruz, a little above my pay level. But I bet this guy is heading to Steamer Lane now. Go with god!
I’m Glenn Whipp, a columnist for the Los Angeles Times, host of Friday’s newsletter of The Envelope, and the guy who would possibly have watched “Point Break” for the hundredth time while preparing this missive. (Full disclosure: I was switching between the movie and the Speaker’s vote, looking for which was the craziest one. It’s almost a draw!)
We are six days away from voting for Oscar nominations. Members of the film academy likely spent the holidays unpacking tamales, browning eggnog, and catching up on videos they missed. those who love to do their homework. )
What will this year’s roster look like when Oscar nominations are announced on January 24?In my last column, I took a look at what is resolved and what remains to be gained. If you’ve been back for a few seconds to “Everything Everywhere All at Once” or “Avatar: The Way of Water,” you’re probably thrilled with the results. They’re going to have the numbers. . . Unlike a secure representative from California, you will remain anonymous.
Claire Foy talks about TikTok or, more specifically, how she doesn’t perceive TikTok and needed more young cast members on the set of her new film “Women Who Talk” to help her navigate the popular app, when co-star Jessie Buckley gets up and gets up. She gets up and starts doing what she calls this “spinning thing. “Swinging his arms in his oversized sweater, doing the party dance in the most productive way imaginable, and laughing uncontrollably.
“Now,” Foy told me, “imagine Rooney Mara doing this dressed in a Mennonite dress and a pregnancy hump, and get a sense of what we looked like when we weren’t in that haystack tray. “
“Women Who Speak” premiered the first week of September at the Telluride Film Festival and nonetheless hit theaters after screening at several other film festivals in recent months. Adapted from Miriam Toews’ 2018 novel, the film, written and directed by Sarah Polley, focuses on an organization of women from a remote and fictional Mennonite sect who have been drugged and sexually assaulted. They gather in a haystack to decide whether to stay and forgive men, the only way, they are told, to enter the kingdom of heaven. “Or stand up and fight men. Or pack your bags and leave the only space you’ve ever known.
Foy plays the provocative Salome, a mother who advocates standing firm. Buckley’s Mariche is equally fierce, her anger and confusion combined with caustic wit.
Not long ago, I spoke with Foy and Buckley Zoom, a few months after an informal encounter in Telluride with the film’s stellar cast, which also includes Mara, Judith Ivey, Ben Whishaw, Sheila McCarthy and Frances McDormand, one of the film’s producers, in a small role.
As the meetings progressed, it was great, even if it was just the 3 of us. Watch the interview and see for yourself.
My friend Margy Rochlin sat down with Lashana Lynch, the machete-wielding warrior in Gina Prince-Bythewood’s ancient epic “The Woman King,” and they had a glorious verbal exchange about her role as a flyer on stage in the film. They were also given the role of Lynch as schoolteacher Miss Honey in Matthew Warchus’ “Matilda the Musical”. He had a very smart year.
“Or they care about young people. It’s your honor to serve them and make sure they get the most out of their skills,” Lynch says, comparing the two disparate roles. , can be quite easy. Miss Honey is soft inside, suspicious and has low self-esteem. From the outside in, Izogie presents herself as very strong but has this deep vulnerability that masks very well. on the surface of the cotton fleece and the other barely hides it.
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Glenn Whipp covers film and television for the Los Angeles Times and is a columnist for The Envelope, the Times’ awards season publication.
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