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Director Sean Baker doesn’t know he’s the front-runner with 'Anora'

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Director Sean Baker doesn’t know he’s the front-runner with 'Anora'

Upstairs at the Aero Theatre in Santa Monica, Sean Baker is talking shop with veteran projectionist Ivan Rothberg as he’s threading the fifth reel of “Anora,” Baker’s Oscar-nominated crowd-pleaser that won top honors from the directors and producers guilds over the weekend.

Looking out the booth’s window onto the sold-out theater’s screen, we see that Igor (Yura Borisov) has just handed a red scarf to Ani (Mikey Madison) to buffer the frigid night air, so we have some time before Ani’s journey ends. We head to a tiny office around the corner where Baker plops down next to his wife and producing partner, Samantha Quan, and fellow producer Alex Coco. We’re surrounded by shelves stacked with boxes of Red Vines, Kit Kats and sparkling water. Quan grabs a pack of Cheez-Its. You take sustenance where you find it.

It’s been more than 48 hours since “Anora” swept top prizes at the Directors Guild of America and Producers Guild of America awards, and they still can’t believe it happened.

“When we got to the producers, I was just shut down for the night,” Baker says, noting the stress that came with winning the DGA and having to make a speech he wasn’t at all prepared to deliver. He won the DGA prize at 9 p.m., posed for pictures and then hopped in a car for the mile-long trip from Beverly Hills to Century City for the final moments of the PGA ceremony. “It was extremely weird to hear them call out ‘Anora.’”

From left, moderator Jim Hemphill, writer-director Sean Baker, co-producer Samantha Quan and co-producer Alex Coco, speaking after Tuesday’s Aero screening of “Anora.”

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(Kay Qiao / American Cinematheque at Aero Theatre)

“I thought we were going to blank the whole weekend,” producer Coco says. Referring to the Critics Choice Awards held Friday, he adds, “I figured it we didn’t win there, that’s our obituary.”

“I didn’t think of it that way,” Baker says, “because I don’t really know the game that well. People are telling me now that we’re actually in the conversation again because of these wins. See, I didn’t know these wins would get us back into the conversation.”

But then Baker, two weeks shy of his 54th birthday, never expected to be in the awards conversation in the first place. Adept at making movies illuminating the underrepresented, Baker broke through in 2015 with “Tangerine,” the micro-budgeted tale of two trans sex workers working at the seedy intersection of Santa Monica and Highland in Hollywood. Baker famously shot the movie on iPhone 5s.

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He followed that two years later with “The Florida Project,” another look at people on the margins, in this case, the residents of a rundown motel in the shadow of Disney World. Willem Dafoe, playing the motel’s beleaguered manager, earned the movie’s only Oscar nomination.

“I thought, ‘OK, I don’t think I’m going to get any more higher-brow than ‘The Florida Project,’” Baker says. “Like, that’s the top of my brow there. So if they’re not into that, if I’m scaring people off with that, then I’m not meant for this world.”

A smiling woman sits on the lap of a man in shades.

Mikey Madison and Mark Eydelshteyn in the movie “Anora.”

(Neon)

Baker followed “The Florida Project” with “Red Rocket,” again mixing hilarity, honesty and heartbreak in its story of a middle-aged porn star fleeing Los Angeles for his small Texas hometown. And then came “Anora,” the fractured fairy tale about a Brooklyn sex worker’s heady and, ultimately, devastating relationship with the son of a Russian oligarch.

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“There was not one moment when we were making ‘Anora’ that I was like, ‘I’m doing this for a mainstream audience,’” Baker says. “To tell you the truth, it was very like, ‘I’m making this for the people who like my crazy stuff. I’m making this for the people who like “Red Rocket.” I’m going to be giving it to them.’”

“Except for when we were leaving for Cannes and you said, ‘This is going to be a nice relaxing trip,’” Quan reminds him, teasing. “You thought it was too commercial, so it wasn’t going to win anything.”

“I also thought it was too funny,” Baker replies. “Historically, comedies haven’t won too many awards there.”

“Anora” ended up taking the Palme d’Or, the festival’s top prize. And Baker finds himself nominated for four Oscars, as a producer, director, writer and editor.

Which raises the question: Why, out of all of Baker’s films, is “Anora” the one that’s connecting with moviegoers and awards voters?

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Baker shrugs his shoulders. “It’s very difficult to say. Maybe it’ll take a few years where you can look back at an era and have perspective on what was going on, culturally and politically.”

Coco thinks people are responding to the title character. Quan offers that it might be the “strange family” that forms between the film’s characters, all of whom are recognizable and human.

“And they’re all of a similar class,” Coco says, “all beholden to this family that has all the money. They’re trying to survive that.”

When Baker won the Palme d’Or, he shared a stage with George Lucas, one of his many heroes whom he has met the past few months, a list that includes Pedro Almodóvar and Christopher Nolan, the latter who presented him with the DGA award.

“I wasn’t expecting that,” Baker says, noting how much he appreciates Nolan’s movies and work in film preservation. “So when I went up there, I was thinking I was definitely going to try to make him happy and talk about theatrical windows and shooting on film.” We all laugh. He turns to Quan. “Was he smiling back there?” She assures him he was.

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A director speaks with a line of fans at a screening.

Baker, left, speaks with fans after the screening.

(Kay Qiao / American Cinematheque at Aero Theatre)

Baker met another one of his idols a few days ago when he picked up the Los Angeles Film Critics’ Assn.‘s best picture award on the night that the group honored John Carpenter’s career. He didn’t know Carpenter would be there and Quan says her husband was “freaking out.”

“I’m never fully informing myself, so I didn’t know he was getting the career honor that night,” Baker says. “He’s such a hero. I still have the ‘Escape From New York’ poster on my wall. I had ‘Assault on Precinct 13’ above my bed in seventh and eighth grade. And, of course, ‘The Thing’ means so much to me.”

When the evening ended, Baker approached Carpenter and asked for a photo. The two posed together, giddily making metal signs with their fingers. If it’s not Baker’s most cherished moment from the past few months, it’s high on the list.

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When I suggest that “Anora’s” ending, a perfect, ambiguous moment of release for its title character, might be another reason for its appeal, Baker circles back to Carpenter, saying he wished he had mentioned that aspect of the genre master’s filmmaking. Carpenter had a way with ambiguous endings.

“He taught me that,” Baker says. “All of my favorite movies have open endings. You’re putting the audience in an uncomfortable place where they’re asked to do the work. But too bad. It’s like, ‘I’m trying to respect you guys. I know you can do it.’”

The night they won the DGA and PGA honors, Coco headed to Akbar in Silver Lake with some friends. Baker and Quan went straight home to bed. The director had an early morning photo shoot he was leading the next day for W Magazine.

“I was buzzing,” Baker says. “It was hard to settle down.”

So how did you go to sleep?

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Quan looks at me like I’m a child. She closes her eyes and mimes her head hitting a pillow. “I gotta go to sleep. If I don’t, I’m dead.”

“We’re trained to do that,” Baker says. “My brain is like, ‘If you don’t fall asleep, there’s going to be a domino effect.’”

This ability will come in handy over the weekend. Baker will be traveling to San Francisco on Thursday for an academy screening of “Anora,” then to New York on Saturday for the Writers Guild Awards and finally to London the next day for the British Academy Film Awards — though, apparently, much of this is news to Baker. (Remember that earlier comment about “never fully informing” himself?)

“Wait a minute,” he says, looking at Quan and Coco. “I’m doing WGA?”

“Yes, Saturday,” Coco tells him. “Then BAFTA Sunday.”

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Baker slumps in his seat and starts laughing. Or is he weeping?

“Oh, God! Oh, God!” he says. He’s editing a movie he produced and co-wrote with Taiwanese filmmaker Tsou Shih-Ching titled “Left-Handed Girl,” and they’re trying to finish to make festival deadlines.

“I have like another 10 days,” he says, shaking his head.

“He’s had another 10 days for like 100 days,” Coco tells me.

“No, this is really pushing it,” Baker says. “It’s incredibly scary.”

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This is scary? What about the Oscars?

“Well, one step at a time,” Baker says.

Rothberg doesn’t have any more reels to change. It’s time to head down to the theater for the Q&A. “Anora’s” journey is almost at an end.

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Entertainment

Denis Villeneuve to direct next James Bond film

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Denis Villeneuve to direct next James Bond film

Denis Villeneuve will direct the next James Bond film, the 26th official entry in the historic franchise. Villeneuve will also serve as executive producer, alongside Tanya Lapointe.

Amy Pascal and David Heyman are producing the project, as had been previously announced. The pair came onto the film after the series’ longtime producers, Barbara Broccoli and Michael G. Wilson, made a deal to give up creative control to Amazon MGM Studios earlier this year.

In a statement, Villeneuve, a four-time Academy Award nominee, said, “Some of my earliest movie-going memories are connected to 007. I grew up watching James Bond films with my father, ever since ‘Dr. No’ with Sean Connery. I’m a die-hard Bond fan. To me, he’s sacred territory. I intend to honor the tradition and open the path for many new missions to come. This is a massive responsibility, but also, incredibly exciting for me and a huge honor. Amy, David, and I are absolutely thrilled to bring him back to the screen.”

Also in a statement, Pascal and Heyman commented, “Denis Villeneuve has been in love with James Bond movies since he was a little boy. It was always his dream to make this movie, and now it’s ours, too. We are lucky to be in the hands of this extraordinary filmmaker.”

Villeneuve’s last film, “Dune: Part Two,” earned more than $700 million worldwide. He is preparing to begin shooting the third “Dune” movie this summer with a scheduled release date of Dec. 16, 2026.

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Daniel Craig and Ana de Armas in “No Time to Die,” which marked Craig’s final film in the James Bond franchise.

(Nicola Dove / MGM)

The prior film in the Bond franchise, 2021’s “No Time to Die,” finished off Daniel Craig’s five-film run in the role, which began with 2006’s “Casino Royale.” After American-born “No Time to Die” director Cary Joji Fukunaga, the French-Canadian Villeneuve will be only the second non-British director in the history of the Bond franchise.

A screenwriter hasn’t yet been named and no announcement has been made as to who will take over playing the famed British secret agent.

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Mike Hopkins, head of Prime Video and Amazon MGM Studios, said in a statement, “We are honored that Denis has agreed to direct James Bond’s next chapter. He is a cinematic master, whose filmography speaks for itself. From ‘Blade Runner 2049’ to ‘Arrival’ to the ‘Dune’ films, he has delivered compelling worlds, dynamic visuals, complex characters, and — most importantly — the immersive storytelling that global audiences yearn to experience in theaters. James Bond is in the hands of one of today’s greatest filmmakers and we cannot wait to get started on 007’s next adventure.”

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Cleaner Movie Review: Daisy Ridley shines in a slick but shaky action ride

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Cleaner Movie Review: Daisy Ridley shines in a slick but shaky action ride
Story: When activists seize a skyscraper gala, ex-soldier-turned-window-cleaner Joey (Daisy Ridley) finds herself stranded outside. With her brother among the hostages, she must scale the building and outwit the attackers to save him and everyone inside.Review: In

Cleaner

, director Martin Campbell returns to familiar territory: the taut, high-concept action thriller. But while the film showcases his well-known flair for vertical spectacle and tension-filled set pieces, it never fully transcends its genre roots or narrative implausibilities. Anchored by a committed Daisy Ridley, the film is a functional but uneven ride—elevated by direction, hindered by writing. Set in a gleaming London skyscraper,

Cleaner

introduces Joey Locke (Ridley), an apathetic ex-soldier turned window cleaner with a tragic past and a climbing habit rooted in childhood trauma. As her precarious job takes her to the building’s upper floors, eco-terrorists storm an executive gala inside, triggering a hostage crisis. Joey—stranded on the outside—becomes the only person capable of intervening, especially with her younger brother Michael (Matthew Tuck) trapped within. The setup is, admittedly, far-fetched. A former military operative conveniently moonlighting as a skyscraper window washer is the kind of pulpy premise that only works if the film embraces its absurdity.

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Cleaner

does, to an extent. Screenwriters Simon Uttley, Paul Andrew Williams and Matthew Orton leans heavily on genre nostalgia, drawing clear inspiration from

Die Hard

and even

The Towering Inferno

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, borrowing not only their structure but also their sense of contained chaos. Campbell’s direction brings polish to the proceedings, and his eye for height-induced anxiety is sharp as ever. The film’s best moments come when it forgets its dialogue and lets Ridley dangle, climb, and fight against gravity and odds. But for all its kinetic energy,

Cleaner

falters in the writing. The dialogue is often unnecessarily heavy and sluggish, flattening emotional beats and undercutting tension. Joey’s competence verges on implausible, removing real stakes from what should feel like a desperate, near-impossible mission. The film wants to paint her as vulnerable yet unstoppable—but in making her too capable, it strips the story of suspense. That said, Ridley carries the film with quiet intensity. Unlike the usual action heroes, she stays serious and determined. Her scenes with Tuck bring surprising emotional weight, offering glimpses of tenderness in a film otherwise propelled by gunfire and grappling hooks. Their sibling dynamic is one of the film’s few grounded elements, even if it occasionally feels underwritten. The antagonists, led by Taz Skylar’s Noah, provide chaotic opposition but lack ideological nuance. The film hints at internal divisions within the eco-terrorist group—between moral protest and violent extremism—but ultimately sidesteps the ethical debate in favor of more explosions. Clive Owen, in a blink-and-miss role, is underutilized and fails to inject the gravitas his presence promises. In the end,

Cleaner

is a serviceable action movie. It’s well-directed, competently acted, and delivers enough suspense to keep you watching. But weak writing and surface-level themes stop it from being more than just another decent thriller. For fans of the genre, it’s worth a watch—but don’t expect it to leave a lasting impression.

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Liam Payne returns to singing contest roots in posthumous trailer for 'Building the Band'

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Liam Payne returns to singing contest roots in posthumous trailer for 'Building the Band'

British pop star Liam Payne’s final TV appearance is finally on the horizon, less than a year after he died suddenly in Argentina.

Netflix on Tuesday released the trailer for its upcoming singing competition series “Building the Band,” which features the late One Direction singer as one of its guest judges. The series, set to premiere July 9, could bring a sense of closure for fans of Payne, who began his singing career as a contestant on the competition series “X Factor.”

In the teaser, Payne offers his wisdom to aspiring singers, urging them, “I need to feel the connection between you guys.” The singer knew a thing or two about group chemistry: during his second “X Factor” foray in 2010, judges Simon Cowell and Nicole Scherzinger decided Payne should join fellow contestants Harry Styles, Niall Horan, Zayn Malik and Louis Tomlinson to form One Direction. Despite losing the crown, the quintet went on to become a pop sensation best known for songs including “What Makes You Beautiful” and “Story of My Life.”

“Building the Band” reunites Payne with Scherzinger, whose role is judge and mentor. Destiny’s Child alum Kelly Rowland also serves as a guest judge. Backstreet Boys singer and Payne’s friend AJ McLean is the show’s host. The series features 50 singers who work with the veteran musicians to form six bands.

Netflix confirmed Payne’s posthumous appearance earlier this month as it released a first look and announced the series’ premiere date. The streamer wrapped production on “Building the Band” before Payne’s death and received support from the singer’s family to push forward. Payne’s “family reviewed the series and is supportive of his inclusion,” Netflix said in a statement to Deadline.

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Payne died Oct. 16 after falling from a balcony at a Buenos Aires hotel. He was 31. Shortly after his death, officials determined the singer died from multiple traumas and internal and external bleeding caused by the fall. Officials announced in December that Payne also had traces of alcohol, cocaine and a prescription antidepressant in his system when he fell.

Two hotel workers and Payne’s friend Rogelio “Roger” Nores were three of five people charged for their alleged involvement in the singer’s death but were cleared of those charges in February. Appeals court judges ruled at the time that Nores did not have a role in Payne’s “obtaining and consuming alcohol” and that he could not have taken actions to prevent Payne’s death.

The two remaining suspects — charged in December with allegedly supplying Payne with narcotics before his death — will stand trial, officials announced earlier this month.

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