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      Yura Borisov Was a Star for the Kremlin. Now He Could Be One at the Oscars.

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      Yura Borisov, who is nominated for an Academy Award on Sunday, is pulling off a rare feat: pleasing audiences at home in Russia as well as in the West.On the face of it, the Russian actor Yura Borisov was an unlikely actor to land an Oscar nomination in 2025.Just a few years ago he played a guileless soldier in a Kremlin-sponsored movie that celebrated a Soviet tank model. Later, he starred in a biopic of Mikhail Kalashnikov, the man who invented the Russian automatic rifle.But after Russia’s 2022 invasion of Ukraine, he stopped playing in militaristic movies. Last year, Western audiences fell in love with him as a tight-lipped but sentimental mafia errand boy in “Anora,” a Brooklyn-based indie dramedy about a stripper who impulsively marries the son of a Russian oligarch.At the Academy Awards on Sunday, Borisov is up for best supporting actor for the role.The war in Ukraine cut many Russian artists off from the West, but Borisov has been among the few who managed to transcend the dividing lines. He has continued a career in Russia, without endorsing or condemning the war, while in the West, he has evaded being seen as a representative of state-sponsored Russian culture.“Borisov hasn’t picked a side,” said Anton Dolin, a leading Russian film critic. “Maybe he is just very smart, or maybe he thinks he is not smart enough,” Dolin said by phone from Riga, Latvia, where he now lives in exile.“It doesn’t matter,” Dolin added. “His behavior and strategy have been impeccable.”Borisov at the BAFTA Film Awards in London this month. Over the past weeks, he has been on the road campaigning for awards for “Anora” and attending ceremonies. Andy Rain/EPA, via ShutterstockWe 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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      Three Years: Reflections on the Ukraine War

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      More from our inbox:Advice for Democrats: ‘Go Home and Listen’Lab Discoveries LostBuy Back Pennies and NickelsRe-evaluating Movies Andrew Kravchenko/Associated PressTo the Editor:Re “At Home and Abroad, Mourning Lives Lost Over Three Long Years” (news article, Feb. 25):Feb. 24 marked the third anniversary of the Russian invasion of Ukraine. I am inspired by, and my heart breaks for, the brave and noble Ukrainians. I wish my president were more like President Volodymyr Zelensky.Alison FordOssining, N.Y.To the Editor:Re “Dueling U.N. Resolutions on Ukraine Highlight Fissures Between the U.S. and Europe” (news article, Feb. 25):If the United States’ joining Russia to vote against a United Nations resolution to condemn Russia’s war against Ukraine isn’t giving aid and comfort to our enemy, I don’t know what is. Shame on us all.Eileen MitchellLewes, Del.To the Editor:Republicans, historically the party for a strong U.S. foreign policy and an understanding of who our democratic allies are, now remain silent.As President Trump embraces Vladimir Putin, widely suspected of being a killer of political rivals and journalists, and calls President Volodymyr Zelensky a dictator, our Republican senators and representatives should understand that their silence is more than acquiescence.It should be construed as supporting our current path. So when things go wrong, as they inevitably do when you cut deals with bad actors, don’t you dare pretend you were not a part of this abhorrent change in direction in U.S. policy.Steve ReichShort Hills, N.J.To the Editor:Re “Ukraine Nears a Deal to Give U.S. a Share of Its Mineral Wealth” (news article, nytimes.com, Feb. 24):I want to register my objection to the United States’ “mineral rights” demand to Ukraine. Further, any treaty granting our nation such rights must be approved by Congress, which I hope will show a shred of dignity and ensure that it at least gives Ukraine protection and sovereignty in return.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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      2025 Film Independent Spirit Awards: Complete Winners List

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      Here’s who went home a winner at the Indy Spirit Awards, held on the beach in Santa Monica, Calif., on Saturday.“Anora” won best feature at the 40th annual Film Independent Spirit Awards on Saturday. Its director, Sean Baker, and lead, Mikey Madison, won in their respective categories. “Shogun” won best new scripted series, while “Baby Reindeer” took home three acting awards.Best Feature“Anora”Best First Feature“Dìdi”John Cassavetes AwardGiven to the best feature made for under $1,000,000.“Girls Will Be Girls”Best DirectorSean Baker, “Anora”Best ScreenplayJesse Eisenberg, “A Real Pain”Best First ScreenplaySean Wang, “Dìdi”Best Lead PerformanceMikey Madison, “Anora”Best Supporting PerformanceKieran Culkin, “A Real Pain”Best Breakthrough PerformanceMaisy Stella, “My Old Ass”Best CinematographyJomo Fray, “Nickel Boys”Best EditingHansjörg Weissbrich, “September 5”Robert Altman AwardGiven to one film’s director, casting director and ensemble cast.“His Three Daughters”Best Documentary“No Other Land”Best International Film“Flow” (Latvia, France, Belgium)Producers AwardGiven to an emerging producer of quality independent films with limited resources.Sarah WinshallSomeone to Watch AwardGiven to a talented filmmaker who has not yet been widely recognized.Sarah Friedland, “Familiar Touch”Truer Than Fiction AwardGiven to an emerging director of nonfiction features who has not yet been widely recognized.Rachel Elizabeth Seed, “A Photographic Memory”Best New Non-Scripted or Documentary Series“Hollywood Black”Best New Scripted Series“Shogun”Best Lead Performance in a New Scripted SeriesRichard Gadd, “Baby Reindeer”Best Supporting Performance in a New Scripted SeriesNava Mau, “Baby Reindeer”Best Breakthrough Performance in a New Scripted SeriesJessica Gunning, “Baby Reindeer”Best Ensemble Cast in a New Scripted Series“How to Die Alone” More

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      Carlos Diegues, Filmmaker Who Celebrated Brazil’s Diversity, Dies at 84

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      Seeking to shed the gauzy influence of Hollywood and focus on Brazil’s ethnic richness and troubled history, he helped forge a new path for his country’s cinema.Carlos Diegues, a film director who celebrated Brazil’s ethnic richness and its social turbulence, helping to forge a new path for cinema in his country, died on Feb. 14 in Rio de Janeiro. He was 84.His death, in a hospital, was announced by the Brazilian Academy of Letters, of which he was a member. The academy said the cause was complications of surgery. The Rio newspaper O Globo, for which Mr. Diegues wrote a column, reported that he had suffered “cardiocirculatory complications” before the surgery.Mr. Diegues, who was known as Cacá, was a founder of Cinema Novo, the modern school of Brazilian cinema that combined Italian Neo-Realism, documentary style and uniquely Latin American fantasy. He focused on hitherto marginal groups — Afro-Brazilians, the poor, disoriented provincials in an urbanizing Brazil — and was the first Brazilian director to employ Black actors as protagonists, in “Ganga Zumba,” (1963), a narrative of enslavement and revolt that was an early cinematic foray into Brazil’s history of racial violence.The often lyrical results, expressed over the course of 60 years in dozens of features and documentaries, charmed audiences in his own country and abroad, though critics sometimes reproached him for loose screenplays and rough-edged camera work.José Wilker, left, and Principe Nabor in “Bye Bye Brazil” (1979). Mr. Diegues’s international breakthrough, it was nominated for a Palme d’Or at Cannes.Ademir Silva/LC Barreto Productions, via New Yorker FilmsMr. Diegues’s international breakthrough film, “Bye Bye Brazil” (1979), nominated for a Palme d’Or at Cannes, is considered the apotheosis of his dramatic visual style and of his preoccupation with those on the margins of Brazilian society. It follows a feckless group of rascally street performers through the outback, documenting a vanishing Brazil where citizens in remote towns are beguiled by fake falling snowflakes — actually shredded coconut — and hypnotized, literally, by a rare communal television set.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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      ‘Dreams,’ Film About Teen Infatuation, Takes Top Prize at Berlin International Film Festival

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      The event’s other honorees include the actress Rose Byrne, a performance as the composer Richard Rodgers and an Argentine film about a girl who seems to speak to animals.The Norwegian drama “Dreams (Sex Love),” a tender, often funny film by the director Dag Johan Haugerud, won the top prize at this year’s Berlin International Film Festival.Part of a trilogy about contemporary relationships in the Norwegian capital of Oslo, the understated feature follows the consequences of a high school student’s obsession with her teacher and her decision to write about their relationship. The other two installments, “Sex” and “Love,” premiered last year at the Berlin and Venice film festivals.In his acceptance speech, Haugerud said the film was about the act of “writing and reading.” He added that people should “write more and read more, it expands your mind.” He also praised the film’s young star, Ella Overbye, whose warm, finely calibrated performance carries much of the film.The American director Todd Haynes led this year’s jury, which included the Chinese actress Fan Bingbing, the German filmmaker and actress Maria Schrader, and the Los Angeles Times film critic Amy Nicholson.The runner-up prize went to “The Blue Trail,” a Brazilian film set in a society in which people above the age of 77 are sent to a “colony.” It was one of the most praised titles in competition at the Berlinale, as the festival is known in Germany.“The Message,” a film from Argentina about a girl who claims to communicate with animals, won the special jury prize. In his speech, the director Iván Fund said the award represented a “counterweight” to the government’s drastic cuts to the cultural sector under President Javier Milei. “Cinema is under attack,” Fund said, but “film cannot be undone.”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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      Souleymane Cissé, Celebrated Malian Filmmaker, Dies at 84

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      He won multiple awards during his 50-year career, including the jury prize at the Cannes Film Festival, and spent his life championing African cinema. Souleymane Cissé, an award-winning writer and director who became the first Black African filmmaker to win the Jury Prize at the Cannes Film Festival, died on Wednesday in Bamako, Mali. He was 84. His death was confirmed by François Margolin, a French film producer and a close friend of Mr. Cissé’s for the last three decades. Mr. Cissé had just appeared at a news conference on Wednesday morning to present two prizes ahead of the Pan-African Film and Television Festival of Ouagadougou, known as Fespaco, where he had been set to head the jury. After the news conference — where he was “talking and joking” — Mr. Cissé went to take a nap and didn’t wake up, Mr. Margolin said. Mr. Cissé was catapulted to worldwide fame with the release in 1987 of “Yeelen” (“Light” in his native Bambara). The film won the jury prize at Cannes and was nominated as the best foreign film in the 1989 Spirit Awards. The director Martin Scorsese called the film “one of the great revelatory experiences of my moviegoing life.” Mr. Cissé had been energetic until the end of his life, Mr. Margolin said, working and traveling around the world. 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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      BAFTA Awards Winners: ‘Conclave,’ ‘Anora’ and ‘The Brutalist’ Take Home Top Prizes

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      “Anora” and “The Brutalist” also took home major prizes at the British equivalent of the Oscars, tipping the scales again.“Conclave” won the best movie title at the EE British Academy Film Awards at the Royal Festival Hall in London on Sunday — adding the latest twist to a chaotic awards season in which no one movie has dominated the major ceremonies.The film, which stars Ralph Fiennes and was directed by Edward Berger, is a thriller about the selection of a new pope. It took home four awards on Sunday at Britain’s equivalent of the Oscars, commonly known as the BAFTAs. The other three prizes were in minor categories: best editing, best adapted screenplay and outstanding British film.In securing the best film award, “Conclave” beat Sean Baker’s “Anora,” a dramedy in which an exotic dancer marries the son of a Russian oligarch, and Brady Corbet’s “The Brutalist,” about a Jewish architect (Adrien Brody) rebuilding his life in the United States after the Holocaust.It also triumphed over the Bob Dylan biopic “A Complete Unknown” and “Emilia Pérez.”“Conclave” hadn’t previously featured among the major winners this awards season. It only secured one Golden Globe, for best screenplay, at a ceremony in which “Emilia Pérez” and “The Brutalist” were the big winners. More recently, the momentum for the best picture Oscar had swung to “Anora,” after that movie picked up major honors at this year’s Critic’s Choice ceremony and the Directors Guild of America and Producers Guild of America awards.Yet the prominence of “Conclave” at the BAFTAs will give the movie momentum going into this year’s Academy Awards, scheduled for March 2. There is significant overlap between the voting bodies for both awards, and the BAFTAs and Oscars regularly have the same winners.The cast and crew of “Conclave” looked stunned when the best film prize was announced. Isabella Rossellini, who plays a nun in the movie, stood onstage smiling gleefully throughout Berger’s acceptance speech, in which he said he was “deeply humbled” to see his film receive the honor.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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      ‘Paddington in Peru’ Review: Homeward Bound

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      The genial bear embarks on an Amazonian journey of self discovery in this movie, which cannot measure up to “Paddington 2” despite its charms.It’s rare for a sequel to outshine its original, and there’s hardly a case that comes to mind quicker than “Paddington,” the live-action franchise about a clumsy, gentlemanly bear from Peru who was brought up in London. Based on Michael Bond’s books, the original movie and especially the sequel stand out for their appeal to all ages — from the children toward whom they’re geared to the abundance of adults who relish their sincerity, humanity and flair.“Paddington in Peru,” an amiable effort to continue the trend, moves its star into the action-adventure genre. The movie finds Paddington (voiced by Ben Whishaw) on a safari through the Amazon jungle of his youth to rescue his aunt Lucy (Imelda Staunton), who has mysteriously gone missing from her retirement home.If “Paddington” hinges on blundering and “Paddington 2” on relentless civility, the third stages a more personal journey of self discovery. It’s a somewhat rote exercise in soul-searching, and the script lacks subtlety. (At one point, a character actually says, “you have found yourself.”) But the experience is still a worthy one for our furry leading man. Finally, Paddington graduates from nuisance to pathfinder, from struggling to fit in to forging his own identity.The movie begins by catching us up with the Brown family in their picturesque townhouse in London. The kids — now adolescents — have gained independence, and Mrs. Brown (Emily Mortimer, taking over from Sally Hawkins) is missing the days when the fivesome would spend time as a family. So, when Paddington learns that Lucy is in trouble, Mrs. Brown jumps at the opportunity for some vacation bonding and ushers her family into a Peruvian rescue mission.In his feature debut, the director, Dougal Wilson, nods to the adults in the room by taking the straightforward story and packing it with cinematic references. Early on, there’s a singalong where the retirement home’s Reverend Mother (Olivia Colman) belts to the hills with the sound of music. Later, action scenes sponge ideas from Buster Keaton and Indiana Jones. And among the ensemble, the intrepid Hunter Cabot (Antonio Banderas) plays a local river guide whose support of the Browns is tainted by an ulterior motive.Watching Hunter’s schemes unfold, viewers can appreciate the central challenge facing “Paddington in Peru.” How do you measure up to “Paddington 2” when much of its magic came from Hugh Grant, who’s nowhere to be found? Instead, the filmmakers call on Colman and Banderas to fill the void, and although the actors commit with manic enthusiasm, their goofing can’t conjure what came before. Like chivalry from a genial bear, it’s a tough act to follow.Paddington in PeruRated PG. Running time: 1 hour 46 minutes. In theaters. More