Nicole Kidman Tribute: Moulin Rouge! (2001)

by Cláudio Alves

Though many thought Nicole Kidman should have been welcomed into the Academy's good graces with 1995's To Die For, it would take six years until that early promise materialized in the actress' first Oscar nomination. Curiously, the path to such success went through a return to down under cinema that started to take shape with The Portrait of a Lady by kiwi auteur Jane Campion. This was also when Kidman began to challenge herself conspicuously by collaborating with true visionaries, picking projects based on who was behind the camera. That line of thinking took the actress into the dark reveries of Kubrick's swan song and, ultimately, the musical riot of Baz Luhrmann's Moulin Rouge!, which started shooting shortly after Eyes Wide Shut hit theaters.

As Satine, the cabaret's star performer, Nicole Kidman is at the height of her powers, delivering a feat of such off-the-charts star wattage it would have been inconceivable for the Academy to look away…

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Cannes Diary: Palme d'Or winner "Anora"

by Elisa Giudici

Sean Baker takes the Palme d'Or for "Anora" © Sameer Al Doumy / AFP

“I've been working towards this goal for thirty years.” So says Sean Baker as he leaps from his seat in the Lumière theater upon hearing the announcement of his Palme d’Or victory. He thanks Francis Ford Coppola and David Cronenberg, dedicates his film to sex workers, and champions indie cinema meant to be experienced in theaters -- the best experience, he says, “despite what some tech multinationals want us to believe.”

He knows his life as a filmmaker is about to change. The victory of Anora is the culmination of a long journey for a filmmaker who has merged a vibrant, funny, commercial approach with serious themes and auteur rigor. From his speech—one of the best ever delivered by a Palme winner—it’s clear that he is a great storyteller first and foremost...

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Best Actress '74 @50: The Greatest of All Time

by Cláudio Alves

Last weekend, on Mother's Day of all days, Alice Doesn't Live Here Anymore celebrated its 50th anniversary. The occasion calls for some acknowledgment here at The Film Experience, where actressexual Oscar obsessives abound. After all, Ellen Burstyn won the Best Actress race at the 47th Academy Awards, triumphing over what could be described as the greatest lineup in the category's history. Along with the eventual victor, AMPAS nominated Diahann Carroll in Claudine, Faye Dunaway in Chinatown, Valerie Perrine in Lenny, and Gena Rowlands in A Woman Under the Influence. They might have also nominated Liv Ullmann in Scenes from a Marriage had she been eligible, but we'll get there in time. 

As Faye Dunaway presents a new doc at Cannes, the stars have aligned to relitigate the 1974 Best Actress race. Are you ready? Let's go…

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A Penélope Cruz Top Ten

by Cláudio Alves

The Merry Month of May is upon us, but first, there's still some April business to attend. Specifically, Penélope Cruz turned fifty last weekend and celebrated a big party that included such names as husband Javier Bardem, auteur par excellence Pedro Almodóvar, former scene partner Salma Hayek, and many more. Happy belated birthday to the Spanish star! 

Here, at The Film Experience, the best way to mark such occasions is surrendering to list-mania, so let's consider this Oscar winner's extensive filmography and sing her praises. Excluding TV and with honorable mentions woven into the write-ups, here are my top ten favorite performances from Penélope Cruz…

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How Had I Never Seen..."Blue Sky"?

by Nick Taylor

If you had approached me on the street and asked if I was a Jessica Lange fan, I would have answered with an emphatic “duh!” But since you clicked on this link, I'm coming to you through your screen to tell you this informatioin. Having originally met Lange in high school via the actress-heavy ordeal that is American Horror Story, watching her communicate an actual character amidst so much lurid, proudly threadbare plotting was revelatory to witness. Lange served Ryan Murphy’s baroque and sentimental grotesqueries with leonine force. Even as subsequent seasons leaned too heavily on her characters as pillars to be toppled, and it became all too easy to project Lange’s distaste towards her surroundings into her vainglorious Supreme and dissatisfied ringleader, she gives a hell of a good show, finding ways to keep herself amused and visibly gratified (or maybe relieved) to play off her talented co-stars. I haven’t touched the show in years, and still I can remember her broken line reading of “in the gloaming” as she stumbles through a crowd of patients in Asylum, her bitchy, hilarious  refusal to act like she’s invading anyone’s space when she saunters through the Murder House despite no longer owning it.

On the strength of this output I quickly searched for her star-making performances in Frances and Tootsie, which further cemented my impression of her as a supernova capable of great versatility. I’ve seen plenty of other films she’s starred in, yet as her 75th birthday approached, I realized there was a major blind spot I needed to correct. How on Earth have I not seen any of Jessica Lange’s post-1982 Oscar nominations? I’ve spent the past week pouring over those features, and though Country and Sweet Dreams are perhaps in greater need of reappraisal, I’ve found pouring over Blue Sky to be the most rewarding, and the most fun to try pinning down. So, without further ado - Happy 75th Birthday, Jessica Lange...

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