The New York Times – Film:
When American studios wouldn’t back his film about a laid-off manager committing gruesome murders, the director returned to Korea. Now he has a hit on his hands.
Category: Academy Awards (Oscars)
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Did We Underestimate Kate Hudson?
The New York Times – Film:
For years she was pigeonholed as a rom-com star. Her turn as a blue-collar mom with a love of Neil Diamond just might vault her back to the Oscars.
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Theodor Pistek, Oscar-Winning ‘Amadeus’ Costume Designer, Dies at 93
The New York Times – Film:
A busy designer who worked on over 100 films, he was also a racecar driver and a painter of photorealistic works, many depicting cars and their operators.
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Oscars Reach Deal With YouTube
The New York Times – Film:
The Academy of Motion Picture Arts and Sciences said that it had reached a deal with YouTube for exclusive rights to the show starting in 2029.
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Will the Oscars Make Room for ‘Difficult’ Women for 2026’s Best Actress Category?
The New York Times – Film:
Rose Byrne, Jennifer Lawrence and Amanda Seyfried give great performances as women who buck convention. But some voters prize ‘likability’ above all else.
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Oscar Shortlists: ‘Sinners,’ ‘One Battle After Another’ and ‘Wicked: for Good’ Lead
The New York Times – Film:
The lineups, which Oscar voters will choose from next month, include the new casting category, which was largely a dress rehearsal for best picture.
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Renate Reinsve of ‘Sentimental Value’, Talks Levity, Joachim Trier and Quantum Physics
The New York Times – Film:
“I would feel deflated if I couldn’t go into something deeply existential and explore,” said the Norwegian actress, who stars in the Oscar-buzzy “Sentimental Value.”
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Ryan Coogler on ‘Sinners,’ Chadwick Boseman and Why He Declined to Join the Academy
The New York Times – Film:
The director on what he’s thinking of post-“Sinners,” how the loss of Chadwick Boseman affected him and why he turned down the invitation to join the academy.
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What ‘Hamnet’ Lost (and Gained) on the Way From Page to Screen
The New York Times – Film:
The filmmaker Chloé Zhao and the novelist-turned-screenwriter Maggie O’Farrell explained the changes they made in the tale of Shakespeare, his wife and their son.