About 20 UCLA faculty members protested Saturday night outside the UCLA Hammer Museum’s celebrity-heavy gala, calling for amnesty to be granted to pro-Palestinian students arrested on campus this week and demanding that Chancellor Gene Block resign immediately.

As a well-heeled crowd in cocktail attire filed into the museum for the annual Gala in the Garden, sipping bespoke cocktails and noshing on small bites from passed trays, English Department professor Jonathan Grossman blamed Block for what he and his colleagues said were dual wrongs done to pro-Palestinian student activists. On Wednesday, they said, students received unnecessarily rough treatment from police as their encampment was cleared. The night before, they said, police failed to protect the same students from violent counterprotesters’ attacks.

Elizabeth O’Brien, a professor in the History Department, said she was present Tuesday night and witnessed “a horrifying mob” attacking pro-Palestinian students for four hours.

“Along with a colleague, I begged the police to intervene,” O’Brien said. “A police officer threatened us with a weapon in response to our pleas to protect the students from the mob.”

O’Brien showed what she said was an X-ray of broken bones in one of her student’s hands.

“She was just protesting peacefully, and they shot her with rubber bullets,” O’Brien said, adding, “Chancellor Block failed egregiously to protect the students.”

UCLA’s police chief, John Thomas, failed to deliver a written safety plan and prepare enough forces to keep the peace as directed by campus leadership, sources have said. He denied allegations of security lapses and said he did everything he could to keep students safe. In a statement, Block described the attack on pro-Palestinian protesters as “a dark chapter in our campus’s history” and said the university was reexamining its procedures as a result.

The Hammer’s gala, which usually draws one of the starriest crowds in L.A.’s museum fundraising circuit, had a confirmed guest list that a spokesperson said included Jane Fonda, Ava DuVernay, Keanu Reeves, Will Ferrell, Joel McHale and Owen Wilson. Singer k.d. lang was scheduled to perform.

Jodie Foster was on hand to honor Ann Philbin, the longtime Hammer director who has announced her forthcoming retirement. Before introducing Philbin, Foster acknowledged the Gaza protests at UCLA as well as at other universities around the country. Speaking out, Foster said, is what the arts are all about.

“We’re all so keenly aware of what’s happening in the world and the protests,” Philbin said to the gala crowd, adding that the violence on UCLA’s campus tempered the joy of the evening. “I recognize what a difficult time this is for celebration and I appreciate that you’re all here.”

She added later: “We will defend the sacrosanct right to freedom of expression and the right to protest.”

Times staff writer Teresa Watanabe contributed to this report.

“It’s all about cotton padded jackets.”

Director Nao Hing and Hong Kong mega-star Andy Lau Tak-wah reunite after 18 years (when Lau produced Hing’s “Crazy Stone”) to bring to life a rather funny Hong Kong (and not only) film industry satire, with “The Movie Emperor”. Inappropriately labelled as a Chinese New Year movie and following its triumphant premiere at the Toronto Film Festival in September and the Pingyao International Film Festival in October 2023, the film’s theatrical release during Chinese New Year 2024 proved unexpectedly disappointing, grossing just 83 million yuan, probably obscured by more classical and joke-filled comedies, as expected in those festivities.

Dany Lau (Andy Lau) is a veteran megastar with a large fan base, who has been around long enough to start thinking he needs and/or deserves a lifetime achievement award, something like an Oscar. Shortlisted for the Best Actor prize at the Hong Kong Film Awards, he loses it to a rival. Not just a rival, but none other than Jackie Chan, and – to add insult to injury – he is asked to collect the award on behalf of the winner who hasn’t even showed up at the ceremony. Suave and charming as usual, Dany faces the defeat with a façade of sense of humour, but deep down he is furious. Analysing the careers of his more awarded rivals, Dany gets to the conclusions that his mistake is not having done (like Jackie Chan did) more “serious work”, the sort of indie, arty movies that Western festival juries adore.

When the opportunity arises, he takes the leading role of a peasant (a pig farmer, of course!) in a Chinese art-house production and devotes himself to the success of the production, bringing in some sponsors and new-money investors who are not interested in the artistic value of the project but so arrogant to demand to re-write some scenes. Moreover, Dany’s fervour makes him embrace a sort of Stanislavski’s system – as the art of experiencing while training for the part – and he diligently scouts for poor people to observe, real pig farmers to imitate and modest (in his opinion) accommodations to live in. Things starts to backfire when, after adopting a pig as a pet, he also insists on doing his own stunts on a real horse (like Jackie Chan would do), unleashing a shitstorm of comments from the netizens.

The opening scene, with workers preparing kilometers of red carpet, setting up the Hong Kong Film Awards ceremony, and soon after complemented by the same workers taking the whole circus down, is a perfect way to summarize “The Movie Emperor”’s core remark about the fleeting nature of fame and success. Nao Hing pokes fun at the star system and his acute observations hit hard and comment several points. First of all, the aforementioned transience of fame underscores how fragile the professional achievements of a public figure can be in the public eye. A consummate showman with years of experience could still lose everything for a silly faux pas. This also goes hand in hand with a critique of the cancel culture and the generational inability of Dany to deal with it.

Another emerging topic is the airtight bubble in which celebrities are confined and defined by the fun base’s gaze. Dany is paranoid of being filmed and he fears every little red light indicating a camera, something that will generate many cringe-inducing situations; one above all, his clumsy attempt to court a much younger promo director (Rima Zeidan). Not least, a rather funny recurrent point of the film is the mocking of the stereotypical art movie and the great lengths to go to get festival recognition and validation. Some of the best gags of the film involve Dany trying to learn how and where poor people live, culminating with a villager guide apologising: “Oh, you mean poor people? Sorry, we haven’t been poor in years.”

Andy Lau is the beating heart of the movie, obviously, and he plays Dany – a sort of rather dystopian alter ego of himself – with a dedication and zeal that only Dany could match. It is very funny watching such a legend making fun of himself, his entourage, and the industry. However, what truly elevates the film to a higher level is the way it is elegantly filmed and cleverly directed. The comedic time, Nao Hing’s method of lingering on certain static expressions for a long time, the frequent surreal wide-frame camera angles, the crisp photography from Wang Boxue; all blends to a whole that indeed surpasses the sum of its parts. Good performances by actors like Kelly Lim and Pal Sinn, many cameos of HK celebrities like Tony Leung Ka-fai, Miriam Yeung and Wong Jing, and, finally, Nao Hing playing the director of the arthouse movie in the movie, contribute to the final entertaining result.

The Chinese title of “The Movie Emperor” translates “Mr. Red Carpet” which is a rather apt title for this clever meta-movie and sleek satire of the film industry and the shifting figure of the movie star in the age of social media.  

Bernard Hill, the British actor best known for his portrayal of embattled King Théoden in two of the “Lord of the Rings” trilogy films and the stoic Capt. Edward Smith in “Titanic,” has died. He was 79.

Hill died early Sunday, his agent Lou Coulson confirmed to the BBC. No cause was given.

The actor’s breakout role was in the 1982 BBC series “Boys From the Blackstuff,” playing Yosser Hughes, a working-class man dealing with unemployment in Liverpool. The series aired during a time of high unemployment in England, and his character’s catchphrase “gizza job” (“give us a job”) became a popular buzzword across the country.

Hill had a long and prolific career, appearing in both critically acclaimed television, including the 1976 BBC series “I, Claudius,” and films, among them Richard Attenborough’s 1982 picture “Gandhi,” as well as the 2002 movie “The Scorpion King” and 2008’s “Valkyrie,” starring Tom Cruise.

In 2015, Hill played the Duke of Norfolk in “Wolf Hall,” an adaptation of Hilary Mantel’s book about the court of Henry VIII.

Most recently, Hill starred in the BBC police drama “The Responder.” Its second season is set to air Sunday.

Hill was born Dec. 17, 1944, in Manchester to a strict Catholic mining family. He expressed surprise that he had become a successful actor, telling Oxford University’s student paper: “From my social life, my peers, my family, there was no indication that this is where I should go.”

He attended Xaverian College in Manchester and the Manchester Polytechnic School of Drama. At drama school, he became entranced by David Warner’s performance of “Hamlet.” “I just wanted to do what he was doing,” he said.

Hill later worked with Warner, who played Billy Zane’s villainous henchman Spicer Lovejoy, in the blockbuster 1997 film “Titanic”

Alan Bleasdale, who wrote “Boys From the Blackstuff,” told the BBC that Hill’s death was “a great loss and also a great surprise.”

“I was desperate to work with him. Everything he did — his whole procedure for working, the manner in which he worked and his performance was everything that you could ever wish for,” said Bleasdale. “You always felt that Bernard would live forever. He had a great strength, physically and of personality.”

Hill is survived by his wife, Marianna Hill, and their son, Gabriel.