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    Lourdes Portillo, Oscar-Nominated Documentary Filmmaker, Dies at 80

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    Her films centered on Latin American experiences and received wide acclaim.Lourdes Portillo, the Oscar-nominated Mexican-born documentary filmmaker whose work explored Latin American social issues through spellbinding narratives, has died. She was 80.Ms. Portillo died Saturday at her home in San Francisco. Her death was confirmed by her friend Soco Aguilar. No cause was given.One of Ms. Portillo’s best-known works is her 1994 documentary “The Devil Never Sleeps,” a murder-mystery in which Ms. Portillo investigates the strange death of her multimillionaire uncle, whose widow claimed he had died of a self-inflicted gunshot wound. In 2020, the Library of Congress selected the film for preservation at the National Film Registry.“Using vintage snapshots, old home movies and interviews, the film builds a biographical portrait of Oscar Ruiz Almeida, a Mexican rancher who amassed a fortune exporting vegetables to the United States and went on to become a powerful politician and businessman,” Stephen Holden, a Times movie critic, wrote in a 1995 review of the film.The documentary had the tenor of a telenovela and presented open questions about Mr. Ruiz Almeida’s mysterious life and death and the people who could have had a motive for the murder.“The more Oscar is discussed, the more enigmatic he seems,” Mr. Holden wrote.Ms. Portillo crafted the film’s story line from the information her mother relayed over the phone while Ms. Portillo was living in New York, she said in a talk at the Academy Museum of Motion Pictures in Los Angeles last year.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Zone of Interest’ Oscars Speech Is Defended by Jewish Film Artists

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      Remarks about Israel that the director Jonathan Glazer made as he accepted an Oscar for “The Zone of Interest” drew a letter of support after facing criticism last month.More than 150 Jewish actors, filmmakers and other artists signed an open letter that was published on Friday in defense of remarks about Jewishness and the war in Gaza that the director Jonathan Glazer made in his Oscars acceptance speech for “The Zone of Interest,” his film about the Holocaust.Glazer’s speech has become one of the most hotly debated in Oscars history, drawing an open letter of strong denunciation from other Jewish film professionals last month and now one of support.“Right now we stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people,” Glazer, who is Jewish, said at the Academy Awards on March 10. “Whether the victims of October the 7th in Israel or the ongoing attack on Gaza, all the victims of this dehumanization, how do we resist?”The new letter expresses support for Glazer. “In his speech, Glazer asked how we can resist the dehumanization that has led to mass atrocities throughout history,” it says. “For such a statement to be taken as an affront only underscores its urgency.”Its signatories included the actors Joaquin Phoenix, Hari Nef and Debra Winger; the directors Joel Coen, Nicole Holofcener and Boots Riley; the playwright and screenwriter Tom Stoppard; and the artist Nan Goldin, according to Variety, which reported the existence of the letter on Friday. Its signatories were confirmed by Sarah Sophie Flicker, an artist and cultural organizer who helped organize the letter.“We stand with all those calling for a permanent cease-fire, including the safe return of all hostages and the immediate delivery of aid into Gaza, and an end to Israel’s ongoing bombardment of and siege on Gaza,” the letter says.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Louis Gossett Jr., 87, Dies; ‘An Officer and a Gentleman’ and ‘Roots’ Actor

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      His portrayal of a drill instructor earned him the Oscar for best supporting actor. He was the first Black performer to win in that category.Louis Gossett Jr., who took home an Academy Award for “An Officer and a Gentleman” and an Emmy for “Roots,” both times playing a mature man who guides a younger one taking on a new role — but in drastically different circumstances — died early Friday in Santa Monica, Calif. He was 87.Mr. Gossett’s first cousin Neal L. Gossett confirmed the death.Mr. Gossett with Susan Sarandon and Christopher Reeve after winning the Oscar for “An Officer and a Gentleman” in 1983.Associated PressMr. Gossett was 46 when he played Emil Foley, the Marine drill instructor from hell who ultimately shapes the humanity of an emotionally damaged young Naval aviation recruit (Richard Gere) in “An Officer and a Gentleman” (1982). Reviewing the movie in The New York Times, Vincent Canby described Sergeant Foley as a cruel taskmaster “recycled as a man of recognizable cunning, dedication and humor” revealed in “the kind of performance that wins awards.”Mr. Gossett told The Times that he had recognized the role’s worth immediately. “The words just tasted good,” he recalled.When he accepted the 1983 best supporting actor Oscar, he was the first Black performer to win in that category — and only the third (after Hattie McDaniel and Sidney Poitier) to win an Academy Award for acting.He had already won an Emmy as Fiddler, the mentor of the lead character, Kunta Kinte (LeVar Burton), in the blockbuster 1977 mini-series “Roots.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Sunday Read: ‘Sure, It Won an Oscar. But Is It Criterion?’

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      Aaron Esposito and Daniel Farrell and Listen and follow The DailyApple Podcasts | SpotifyIn October 2022, amid a flurry of media appearances promoting their film “Tàr,” the director Todd Field and the star Cate Blanchett made time to visit a cramped closet in Manhattan. This closet, which has become a sacred space for movie buffs, was once a disused bathroom at the headquarters of the Criterion Collection, a 40-year-old company dedicated to “gathering the greatest films from around the world” and making high-quality editions available to the public on DVD and Blu-ray and, more recently, through its streaming service, the Criterion Channel. Today Criterion uses the closet as its stockroom, housing films by some 600 directors from more than 50 countries — a catalog so synonymous with cinematic achievement that it has come to function as a kind of film Hall of Fame. Through a combination of luck, obsession and good taste, this 55-person company has become the arbiter of what makes a great movie, more so than any Hollywood studio or awards ceremony.There are a lot of ways to listen to “The Daily.” Here’s how.We want to hear from you. Tune in, and tell us what you think. Email us at thedaily@nytimes.com. Follow Michael Barbaro on X: @mikiebarb. And if you’re interested in advertising with The Daily, write to us at thedaily-ads@nytimes.com.Additional production for The Sunday Read was contributed by Isabella Anderson, Anna Diamond, Sarah Diamond, Elena Hecht, Emma Kehlbeck, Tanya Pérez and Krish Seenivasan. More

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      How ‘I’m Just Ken’ Won the Oscars Without Winning an Actual Oscar

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      Working off ideas from Ryan Gosling and Greta Gerwig, the choreographer Mandy Moore created the crowd-pleasing number in days.Sixty-two dancers. One week of cast rehearsals. Ncuti Gatwa, didn’t arrive until Friday. Slash showed up on Saturday.“I’m Just Ken” was the showstopping number of Sunday’s Oscar telecast, and it probably wouldn’t have come together in as seamless a fashion if not for choreographer Mandy Moore, who has designed dance sequences for a Taylor Swift world tour and a film musical.“Um, it was definitely up there with ‘La La Land’ and the Eras Tour,” she said when asked about how “I’m Just Ken” ranked in terms of career challenges.Expectations were high before the ceremony. There were reports that the backup Kens would be shirtless, and in an interview on the red carpet, Mark Ronson, who was up for an Oscar for the song along with Andrew Wyatt, promised an “absolutely bananas spectacle.”While the dancers were fully clothed (and a different “Barbie” song would win the Academy Award), Moore’s troupe did deliver on Ronson’s promise. It helped that her partner in crime through the whole endeavor was Ryan Gosling, Oscar-nominated for his role as Ken in “Barbie,” who not only eagerly donned the pink sequin suit but also sang live and had clear ideas about how the number should go.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Barbenheimer,’ and an Early Start, Boost Oscar Ratings to 4-Year High

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      ABC’s telecast of the 96th Academy Awards on Sunday drew 19.5 million viewers, according to Nielsen.The comeback of live event TV continues.ABC’s telecast of the 96th Academy Awards on Sunday drew 19.5 million viewers, hitting a four-year viewership high, according to Nielsen. The live TV audience was up from last year’s 18.8 million, the third consecutive year that Oscar viewership has grown.The ratings report will prompt cheers at ABC and the academy, which bumped the start of the venerable awards ceremony to 7 p.m. Eastern, an hour earlier than usual, in the hopes that more viewers would stick around through the final categories.That approach appeared to pay dividends, as did the numerous nominations for the big box office hits “Barbie” and “Oppenheimer” — a change from recent years when more obscure films dominated the ceremony. Jimmy Kimmel also received warm reviews in his fourth outing as host, leaving him one away from matching another late-night star who moonlighted at the Oscars, Johnny Carson.Nielsen said that Sunday’s Oscars were the most-watched network awards show since February 2020, extending a recent trend where viewer interest has perked up for the kind of mass cultural events that struggled during the pandemic.In February, 16.9 million people watched the Grammy Awards, a 34 percent increase from last year. Viewership of the Golden Globes in January rose 50 percent compared with a year ago. The Super Bowl between the Kansas City Chiefs and the San Francisco 49ers beat ratings records with an audience of 123.7 million. Even ratings for the 2023 Tony Awards, traditionally the least-viewed of the “EGOT” quartet, rose modestly.At Sunday’s Oscars, Billie Eilish sang her pop ballad “What Am I Made For?” and Ryan Gosling delivered a cheeky yet dedicated performance of “I’m Just Ken.” The choreography, which drew on Busby Berkeley films and the Marilyn Monroe musical “Gentlemen Prefer Blondes,” was complemented by a cameo by the thrash-rock guitarist Slash and a bevy of supporting Kens from “Barbie,” including Simu Liu.ABC, which has the broadcast rights to the Oscars through 2028, said that it had sold out its advertising inventory for Sunday’s event. The network did not share prices, but advertising executives said ABC had charged $1.7 million to $2.2 million for a 30-second spot, up slightly from last year. Some of the ads turned up in the broadcast itself, like a plug for Don Julio tequila, in which Guillermo Rodriguez, a Kimmel sidekick, offered the beverage to celebrities in the audience.In 2021, for a stripped-down pandemic Oscars held in a Los Angeles train station, only 10.4 million people tuned in. Viewership rose in 2022 to 16.6 million people, in part because of the bizarre spectacle of Will Smith slapping Chris Rock.Still, there is no question that TV viewing habits have changed. Before 2018, the Oscars telecast had never dropped below 32 million viewers. More

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      Donna Langley, Universal Chair, Bet Big on ’Oppenheimer’

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      Under Donna Langley’s leadership, Universal has managed the rare feat of achieving creative dominance and commercial supremacy at the same time.“Queen!”It was a Friday night in January, and Snoop Dogg had just rolled into a cocktail party hosted by Donna Langley, NBCUniversal’s chief content officer and studios chairwoman. His shouted greeting, paired with a jaunty deferential dance, seemed to leave her a bit embarrassed. “We’re here to celebrate filmmakers and films,” Langley told the room a few minutes later. “This is not about me.”For an executive who ardently prefers to stay in the background — she declined to be interviewed for this article and dispatched a lieutenant to try and kill it — the 2024 Oscar trail has been an awkward one. Like it or not, this moment in Hollywood history is very much about her.It was Langley who, in a wild bet on a three-hour period drama about a physicist, gave Christopher Nolan the money to make “Oppenheimer.” It won seven Oscars on Sunday, including the ones for director and best picture. Nolan started his acceptance speech for best director by saying, “Donna Langley — thank you for seeing the potential in this.”Nolan’s film helped Universal be No. 1 at the worldwide box office in 2023, ending an eight-year reign by Disney.Antony Jones/Getty ImagesDa’Vine Joy Randolph won the supporting actress Oscar for her performance as a grieving mother and boarding school cook in “The Holdovers,” which was released by Focus Features, a specialty film studio that Langley also oversees.In a rare achievement, Universal’s creative dominance has coincided with commercial supremacy: The studio was No. 1 at the worldwide box office in 2023, selling nearly $5 billion in tickets and ending an eight-year reign by Disney. Moreover, Universal reached audiences the old-fashioned way — by serving up movies from a mix of genres, with nary a superhero to be found. “The Super Mario Bros. Movie” ($1.4 billion) led the way, followed by “Oppenheimer” ($958 million), “Fast X” ($705 million), “Five Nights at Freddy’s” ($291 million) and “Migration” ($279 million).We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Best Oscars Red Carpet Looks: Emma Stone, Colman Domingo and More

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      At the 96th Academy Awards on Sunday, the red carpet showed not only its true color but also its reputation as a vehicle for elegant, over-the-top and even political fashion.Though there were bright moments — Cynthia Erivo’s dress was a “Wicked” shade of green, Taylor Zakhar Perez wore powder blue Prada — many of the gowns and tuxedos that graced the carpet were black. Some stars’ ensembles harked back to attire they wore at prior Oscars ceremonies. Marlee Matlin said that her shimmering lilac Rodarte gown nodded to the dress she wore when she won the best actress award in 1987, and Lupita Nyong’o went with a pale bluish-silver Armani dress inspired by the color of the gown she wore when she won the best supporting actress award in 2014.Sparkling brooches were among the most visible accessories on both men and women, as were tiny red pins calling for a cease-fire in Gaza. The Israel-Hamas war also influenced action off the carpet, with protests taking place as celebrities were arriving at the ceremony.Of all the fashion on display at the Oscars, these 19 looks stood out as doing the most.Billie Eilish: Most Young Old Hollywood!A power skirt suit.Nina Westervelt for The New York TimesThe Gen Z singer, a songwriter for “Barbie,” dialed up the glamour with flowing hair, a houndstooth Chanel bag and a tweed skirt suit with an Artists4Ceasefire pin on the jacket.Lupita Nyong’o: Most Icy Cool!Shining like a diamond.Jutharat Pinyodoonyachet for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Oscars’ In Memoriam: Academy Honors Aleksei Navalny and Andrea Bocelli Performs

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      The in memoriam segment at the Academy Awards opened not with a Hollywood star, but with a clip of Aleksei A. Navalny from “Navalny,” the Oscar-winning 2022 documentary about the Russian opposition leader who died last month in a Russian prison.“The only thing necessary for the triumph of evil is for good people to do nothing,” read a quote of Navalny’s on the screen.Taking a moment to recognize those in the film industry who have died since the previous Oscars ceremony, the telecast also paid tribute to stars such as Harry Belafonte, the barrier-breaking performer and activist, and Chita Rivera, the Broadway star who also appeared in films, as well as filmmakers such as Norman Jewison, the lauded director behind “In the Heat of the Night,” “Fiddler on the Roof” and “Moonstruck.”To accompany the tributes, the superstar tenor Andrea Bocelli sang “Time to Say Goodbye” — with a new orchestration by Hans Zimmer — alongside his son, Matteo Bocelli.Chita Rivera, the Broadway star who also appeared in films, was honored in the Oscars’ in memoriam segment.Amir Hamja/The New York TimesHere are some of figures the Academy honored:Alan Arkin, the acclaimed actor who won an Oscar for his role in “Little Miss Sunshine”Andre Braugher, a film, TV and theater actor who had roles in Spike Lee and Edward Zwick filmsMichael Gambon, the acclaimed Irish-born actor who played Albus Dumbledore in the “Harry Potter” moviesWilliam Friedkin, director of the box office hits “The French Connection” and “The Exorcist”Bo Goldman, the admired Hollywood screenwriter who took home Oscars for his work on “One Flew Over the Cuckoo’s Nest” and “Melvin and Howard”Glenda Jackson, the two-time Oscar winner who turned to politics in her 50sPiper Laurie, a respected actress with three Oscar nominations, including for her role in “Carrie”Bill Lee, a jazz bassist and composer who scored the early films of his son Spike LeeRichard Lewis, the acerbic stand-up comic who became a regular in movies and TVRyan O’Neal, who became an instant movie star in the 1970 hit film “Love Story”Matthew Perry, the “Friends” star who had roles in movies such as “The Whole Nine Yards”Paul Reubens, the comic actor behind Pee-wee Herman who had scores of movie and TV creditsRichard Roundtree, one of the first Black action heroes who was catapulted to fame in the movie “Shaft”Ryuichi Sakamoto, one of Japan’s most prominent composers, who scored the films “The Last Emperor,” “The Sheltering Sky” and “The Revenant”Tina Turner, the pop sensation who appeared in films such as “Tommy” and “Mad Max Beyond Thunderdome”Carl Weathers, a former pro linebacker, who played Apollo Creed in the “Rocky” movies More