Entertainment
Tiffany Haddish just can't quit. Even when she knows she should
“Come with me,” Tiffany Haddish says, walking out her front door.
I’ve barely had the chance to say hello before she’s heading down the sidewalk. I trail behind, fumbling around in my bag for a recording device as she explains that there’s an open house she wants to check out before we sit in her Crenshaw home and discuss her new book of autobiographical essays — or anything else.
Haddish doesn’t sleep on local real estate opportunities. She’s deeply invested in South L.A., spiritually and financially. She already owns about a dozen properties in the area, many of which she rents out to organizations that house foster youth.
Who are the people shaping our culture? In her column, Amy Kaufman examines the lives of icons, underdogs and rising stars to find out — “For Real.”
She has two houses on this boulevard alone — one she sleeps in, one she works in — but neither needed the kind of work that is obviously required to make livable the for-sale property she walks into on this Sunday afternoon.
There are dark stains permeating the carpets, missing ceiling tiles, an enormous window above the toilet that opens to the hallway for no discernible reason.
“How many developers came through here today?” Haddish asks the real estate agent, who confirms that about 90% of the visitors have been investors. Most have estimated the house needs around $300,000 worth of renovations. But the sellers want a regular buyer.
“I’m a regular buyer!” she says. “I got my first house here for around $600,000, but that was in 2015. And now this is what, $1 million?”
The agent shakes his head.
“More?” she asks, incredulous. The 1,548-square-foot abode is in fact listed for $1.1 million, he says. She is aghast but continues surveying the space. There are kumquats and lemons growing in the backyard, which she likes. She’s big into eating healthy, and is in the midst of attempting to open a grocery store nearby that will give the community access to nutritious food choices.
“I’d need to do another movie,” she says, mulling it over.
By the end of the week, she has a tentative plan: Get a few of her friends to help her buy the place, then put the property in a trust, fix it up and rent it out for a reasonable price.
“I mean, if you want to get in on this, you are more than welcome to join,” she tells me over the phone from San Antonio, where she is, appropriately, giving a paid keynote for the Texas Apartment Assn.
And the thing is, she’s totally serious. Because that is who Tiffany Haddish is. Someone who divulges the details of her real estate portfolio in lieu of exchanging pleasantries. One of maybe three celebrities on Earth who will answer any question, no matter how intimate. A comedian who has bared her open wounds — homelessness, domestic violence, rape, miscarriage — and used them as material.
Her latest book, “I Curse You With Joy,” out May 7, is even more raw than her first: She goes from describing how she located her G spot to revealing that when she was 7, her mother got “Satan’s fire” in her eyes and hissed: “You wouldn’t even be here if [your dad] didn’t rape me.”
So when she says she’s been working with a therapist to learn how to set better boundaries — be more mindful of her own limitations — I believe her. It’s a decision she came to after her inability to draw lines started to threaten not just her career but her sanity. Since her star-making turn in “Girls Trip” seven years ago, headlines about Haddish have shifted from anointing her as Hollywood’s next big thing to predicting her downfall after a series of scandals.
Comedy “Girls Trip,” starring Regina Hall, left, Tiffany Haddish, Jada Pinkett Smith and Queen Latifah, was a breakout hit for Haddish.
(Michele K. Short / Universal Pictures)
It started with a 2019 alcohol-fueled disaster, when Haddish was so inebriated at a New Year’s Eve show in Miami that she forgot her jokes and fans walked out in protest. Then, in 2022, she was arrested in Georgia on suspicion of driving under the influence after police received a call about a driver who was allegedly asleep at the wheel. She was similarly detained this past November, when Beverly Hills cops found her asleep in her badly parked car and charged her with her second DUI.
She’s never had a problem with alcohol, she insists. The issue was pushing herself past her limits.
Just before her 2023 arrest, she’d spent the day cooking and then serving food to 2,000 people at the Laugh Factory. Afterward, she went to her family’s house to share some leftovers when she got a call that more food was needed elsewhere. She could have — should have, she says she knows now — sent it in an Uber.
Instead, she drove herself, even though she’d been up since 5 a.m. and was exhausted. (Her blood alcohol level that night was 0.03% and the DUI charge was later dismissed; she ultimately pleaded no contest to a misdemeanor reckless driving violation.)
Tiffany Haddish performs at Laugh Factory Hollywood’s 43rd Thanksgiving Feast and Show on Nov. 23, 2023. She was arrested early the next morning for DUI but said she was just exhausted.
(Olivia Wong / Getty Images)
For those who know Haddish, this tracks. Shermona Clark, a friend since ninth grade, says, “It was like nothing for us” when their friends heard Haddish fell asleep in her car.
“It was like, that’s what she do. She’ll pull over and go to sleep in the car,” Clark says. “We’d ask her why she was driving, tell her it wasn’t safe. She’s always done that. Go, go, go.
“She always wants to prove that she’s not a quitter,” Clark adds. “That she’s gonna make it, that she’s smart and talented. We all know that already. But there’s something in her where she just can’t see it like we do.”
But at 44, Haddish says she’s legitimately trying to slow down. Not take every job she’s offered, stop doing so many favors, sleep more.
“If I say I can’t do something, I can’t do it. I feel way more comfortable saying that now,” she says. “I can’t bend backwards no more. I’m not built for it.”
Not everyone is convinced.
“She ain’t slowing down,” says Clark, laughing. “What does ‘chill’ mean? ‘OK, I’m not gonna take on 11 projects, just 10?’”
If you’ve been training yourself to keep pushing and tough things out for four decades, it becomes endemic to your personality. When Haddish got hugely, suddenly famous in 2017, so too did the story of her challenging upbringing.
Growing up in South L.A., her home life was unstable. Haddish’s father had left the family when she was 3; five years later, her mother was in a car accident and suffered such serious brain damage that she started physically and verbally abusing her children. Haddish and her four younger half-siblings ended up in foster care.
When Haddish was 15 and living in a group home, she landed a spot in a free comedy camp at the Laugh Factory, where she was mentored by Richard Pryor. Still, she struggled for years to make ends meet. She was homeless and living out of her 1995 Geo Metro before she started getting roles in TV series like “Real Husbands of Hollywood” and “The Carmichael Show” beginning in 2013.
When “Girls Trip” came out, she was 37, and the media turned her into a sort of rags-to-riches, never-give-up poster child. She hosted “Saturday Night Live” and won an Emmy for it, landed the cover of Time’s 100 issue, took home a Grammy for narrating her New York Times bestselling memoir. She headlined a movie with Kevin Hart, voiced characters in all the big animated kids films, hosted MTV award shows.
Haddish on the set of NBC sitcom “The Carmichael Show,” on the Fox Studios lot, in 2016.
(Jay L. Clendenin / Los Angeles Times)
Haddish’s success in “Girls Trip” led to a leading role opposite Kevin Hart in the comedy “Night School.”
(Eli Joshua Ade / Universal Pictures)
“And then, all of a sudden, it almost felt like, ‘OK, now you too famous,’” says Lil Rel Howery, who has been close with Haddish since they met while competing on “Who’s Got Jokes?” in 2006. “People love underdogs until you become, I guess, a top dog.”
There has definitely been a palpable vibe shift surrounding Haddish. It’s not that she doesn’t still get work — in the last year she’s appeared in Disney’s “Haunted Mansion,” the last season of “The Afterparty” on Apple TV+ and filmed a role in the forthcoming “Bad Boys” sequel. But she’s no longer one of those beloved stars everyone seems to root for.
Some of that is due to a disturbing lawsuit that was filed and then dismissed within the span of three weeks in 2022.
In a legal complaint filed in L.A. Superior Court, an anonymous young woman claimed that Haddish and fellow comedian Aries Spears had “groomed” her and her younger brother to engage in sexually suggestive comedic sketches when they were minors.
Haddish and Spears denied this and less than a month later, the Jane Doe asked a judge to dismiss the case and released a statement recanting the accusation. “My family and I have known Tiffany Haddish for many years,” it read, “and we now know that she would never harm me or my brother.”
But the damage to Haddish’s reputation had been done. The deal she made for “I Curse You With Joy” in 2020 “went sour,” as did a second one; the publishing houses “got scared,” she says. “Scared of me, scared it wouldn’t do well. ‘Oh, she’s a problem. She’s too controversial.’”
Haddish says she was preparing to self-release the project, but it eventually found a home at Diversion Books. It will arrive on shelves a couple of months after her latest controversy — a February trip to Israel, which she announced via Instagram video from a first-class airline seat.
After reconnecting with her father as an adult, Haddish learned that she had Jewish roots in Eritrea. She dove into the religion, joining the Stephen Wise Temple and being bat mitzvah’d at age 40.
In the video, she said she was embarking to Israel for the first time on a self-funded trip to “learn and see with my own eyes.” But fans did not respond well to news that she was heading to the country in the midst of the war with Hamas. “Insecure” star Amanda Seales said on Patreon that she was so “disturbed” by the trip that she would end her friendship with Haddish, declaring the comedian didn’t “have the backbone to stand on what is right.”
To her closest friends, the prolonged backlash has been troublesome — and baffling.
“Because everybody was kissing her a—” after “Girls Trip,” says Howery, the “Get Out” star. “Then the jealousy started with other actors and stuff. They’re like, ‘How is she winning?’ Everybody was cheering her on for being herself, and then that’s the same thing that people got mad about. ‘She’s doing too much!’ But she’s been doing too much.”
The foster kids Haddish works with through her nonprofit She Ready Foundation get especially upset about hate they see directed toward her online.
“They cry to me, like, ‘Stop being famous! I want you to quit!” she says. “They said it hurts their feelings to see what people say about me.”
After the open house, Haddish and I have returned to the home she uses as an office. She bought it last year for $1.6 million — a totally redone three-bedroom with subway tile backsplash, soaking tub and solar panels. It’s modern and sparse, lacking personal details save for a random, small canvas on the wall that she made in a Sip ’n’ Paint class she bought off Groupon a few years back.
Haddish grabs an apple off the kitchen island, eats it and then clutches the core in her hand for half an hour, rather than throw it out and disrupt her thoughts about getting trolled.
Comments about her online have gotten so negative that last year, she began blocking certain phrases on Instagram, including “setback,” “pedo” and “not funny.” She hired a digital forensics analyst to research where her death threats were coming from — 75% were created by robots in Malaysia and Iran, which made her feel better.
She also created a fake Instagram account where an alter ego named Sarah will go in and “destroy” anyone hating on her by deploying details from their personal lives.
“I’ve learned how to find people’s information — like I pull up the credit report, police records. You can do that for $1.99,” Haddish says. “Sometimes, I get so mad that I’ll get they phone number and I’ll just call them.”
She registers the disbelief on my face.
“Oh, I have called people, honey,” she says. “They be shocked that I called. They’ll be like, ‘I can’t believe you even saw that.’ You did a whole video, b—! You made a full, five-minute video! On the internet, people think they can just say whatever and you not gonna say anything. I try my best not to, but I’m a human being.”
Many of the comments pertain to the lawsuit, she says. Haddish doesn’t feel it’s affected her career — plenty of folks still approach her to fan out in the airport, she says — but she has noticed an attitude adjustment from some people in the industry.
Recently, she says, someone “of status” approached her and asked: “Is your mental health OK? Your name is always in the headlines. You said this, you said that. All I see is people attacking you. It’s like, ‘Oh, don’t get too close to Tiffany. I’m going to get attacked too.’”
Her mental health is perfectly fine, she says. Not that there haven’t been moments she’s questioned it. Usually when she’s on her period, suffering from such bad menstrual cramps that she often passed out. For years, doctors shrugged off her pain, suggesting that she take birth control pills or eat less acidic foods. Haddish recounts the words of one relative — “We used to be out in the fields having babies and working right after.” A woman who complained about her period, Haddish was told, was lying, weak, just trying to get sympathy.
So she started to think maybe she was mentally ill. Then, last year, a doctor finally diagnosed endometriosis. The chronic disease also explained why she’d suffered eight miscarriages — something a prior OB-GYN had misattributed to the shape of her uterus. Until last year, she kept the losses from almost everyone.
“I’d call her and say, ‘How’s your day?’ and she might start talking about work,” recalls Selena Martin, who has been Haddish’s best friend since seventh grade. “And I’m like, ‘OK, that’s nice. But how are you doing?’ In track, our coach used to call us odd names if we were running slow, like ‘hamburger.’ So I’ll ask, ‘No, how’s old hamburger doing?’”
Even as she was miscarrying, Haddish kept quiet, showed up to work, went onstage. She saw the way people talked about pregnancy loss — how they treated women who went through it like pariahs. “I remember Gabrielle Union talked about having a bunch of miscarriages, and it was like, ‘Gabrielle Union can’t hold a baby,’” she says.
She didn’t want to hear that. Tried to be remain positive. This was just God’s birth control, she told herself, God’s way of telling her she was with the wrong man.
“Shame on you, Tiffany,” she admonishes herself now. “I didn’t want to be a quitter. Because my body was quitting. People have no idea what it feels like to have your soul falling out of your body. Because that’s what it feels like. My soul is like, ‘Oh, man. We was gonna grow that.’ You ever plant anything and then it f— dies and you really want it to live? You try to play cool, like it ain’t that bad. But it is.”
There are procedures Haddish could have to help her endometriosis — laparoscopic surgery to remove scar tissue. But she refuses. Years ago, she says, she had an abortion under anesthesia and she liked the feeling of the drugs so much that she’s scared that if she had access to them again, she’d develop an addiction.
She reasons with herself that menopause is probably only five years away and she finds ways to cope with the pain — marijuana helps a lot, though she’s been sober since Thanksgiving, when the judge in her ongoing Georgia DUI case instituted regular drug and alcohol testing following the Beverly Hills arrest. She says she plans to abstain from drinking even after the case is wrapped up, especially because she’s noticed a discernible difference in her pain over the last few months.
And she’s decided that she doesn’t want to have kids.
“I would hate to give birth to someone who looks like me, knowing they’re going to be hunted or killed,” she writes in “I Curse You With Joy.” “I don’t want the stress of worrying every time my Black baby goes to school or goes to hang out with their friends that they they could end up dead.”
Growing up three miles away near 54th and Western, she was in gang territory. The park she hung out at was infamous for drive-by shootings and filled with police. When she was 13, she says, she watched a boy in her friend group get beat to death by the cops.
“You see s— like that? That don’t go away,” she says, her voice turning quiet and heavy. “You develop this underlying narrative of: ‘Are we being hunted?’ And people always tried to take advantage of me, even when I didn’t have nothing. I see these helicopter parents worried about they child, and I get it, because there are a lot of predators out here.”
She starts to cry, apologizes. This is a topic she particularly hates talking about — at 17, she explains, she was raped by a police cadet on the night of her homecoming dance. She was going to delve into it in her second book, but when she went to record the audio version, she found the experience too painful and cut the pages.
The incident dramatically affected how Haddish viewed men. In the years following it, she attempted to take her sexuality into her own hands. She slept with men freely, spoke unabashedly about her exploits. “I Curse You With Joy” is filled with graphic details of her sex life, including an oral sex tutorial and her preference for a “smedium” penis — something she says she established after intercourse with an extremely well-endowed man sent her to the hospital with a tilted uterus.
She thought sex of her own volition would empower her. If she was the pursuer, she’d be taking something from the man.
“But I was hurting myself the whole damn time,” she says now. “You’re really just kind of raping yourself. You’re giving up a piece of your spirit. I feel different, a little less, every time.”
In her comedy, and in her life, Haddish talks a lot about how closed off she is to relationships. Her last serious one was with rapper-actor Common; that ended after two years in 2021. Since then, she says she’s adopted a new policy: Nine months and then she’s out. She’ll go on Bumble, but never Raya. No more celebrities.
“All the famous guys I used to think, ‘Oh, I would love to do it to him,’ I know them now and I’m like, ‘No,’” she says. “I used to really want Henry Cavill. I think he’s so hot. But I met him and he was so awkward. It was like, ‘This would be weird. I should be talking to him about Dungeons & Dragons. Maybe he’d be more comfortable.’
“Or,” she adds, “maybe he’s just never had a Black woman be like, ‘What’s up? What’s your credit score? Do you like spaghetti? I’ll cook for you. Are you afraid of South Central or not?’ But he’s still beautiful.”
Clark, who met Haddish when they were bused to El Camino Real Charter High School in Woodland Hills, isn’t buying this supposed stance on monogamy.
“Oh, she wants to be in a relationship,” says Clark. “I think it would be really, really good for her to be in a healthy — key word — relationship. She keeps that young, 20-year-old girl in her mind when she’s talking about it onstage, but really, deep down she’s such a relationship girl.”
Haddish says she has other things to work on first, like fixing her sleep routine. She used to get between two and three hours a night. Her fatigue got so bad that sometimes she even fell asleep during sex. And not always in the missionary position. She jumps up and gets on her hands and knees to imitate how it’s possible to be on top and still drift off with your head resting on someone’s chest.
So there’s the sleep thing — she’s getting between five and eight hours a night now. No more drinking. Exercising more frequently, cooking with the vegetables in her garden. Continuing to invest in her neighborhood. Coming to terms with her family.
Haddish’s mother lives with one of her half-sisters in Inglewood now after being institutionalized. Haddish takes their relationship “day by day,” she writes in her book. “I love her, but whew, it is still hard.”
If I met her mother, Haddish says, I wouldn’t notice anything off at first. But after a few hours, she’d start talking to herself, or turn swiftly argumentative. Haddish clings to the “glimmers of her — of my mommy” — the woman she knew before the accident. “And I miss her. But it’s not the same.”
Still, her mother’s admiration is the carrot that’s always dangling. “Am I doing all this, working myself to the bone, just for my mom’s approval?” she writes in “I Curse You With Joy.” “You know what? Kinda.”
There was a moment, recently, when Haddish brought her mom over to see a large home she’d just invested in. She watched as her mother took in the property, impressed.
“She goes, ‘I’m proud of you,’ and that was awesome. That was the best feeling in the world to hear that,” Haddish says. “At the end of the day, all you want is your mommy and daddy to be proud of you. Well, my daddy dead now. And I think she is proud.”
Entertainment
Timothy Busfield faces new sex abuse accusation as he appears in court
Timothy Busfield made a first appearance in New Mexico court Wednesday as prosecutors detailed a new sexual abuse accusation against the Emmy-winning actor.
Busfield, 68, has been charged with two felony counts of criminal sexual contact of a minor and a single count of child abuse for allegedly inappropriately touching two child actors while he worked as a director and executive producer on the Fox drama “The Cleaning Lady,” filmed in Albuquerque. He was held without bond pending a hearing on a motion for pretrial detention.
In that motion, prosecutors argued Busfield should be jailed pending trial due to what they called “a sustained pattern of predatory conduct” that they said dated to at least 1994. That year, a 17-year-old extra on the film “Little Big League” accused Busfield of sexually assaulting her in a lawsuit filed in Los Angeles Superior Court that was later settled privately, the motion states.
Most recently, a man named Colin Swift reported to law enforcement on Tuesday that, years ago, Busfield sexually abused Swift’s then-16-year-old daughter during an audition at B Street Theatre in Sacramento, the motion states. Swift alleged that Busfield begged the family to not report the abuse to law enforcement if he received therapy, and they initially agreed, the filing states.
No charges have been filed against Busfield in connection with that incident.
Busfield founded B Street Theatre as a touring company called Theatre for Children Inc. in 1986, according to its website. Although he is listed as an emeritus board member, he has not participated in the organization since 2001, and the incident recently reported to police is alleged to have taken place there about 25 years ago, according to a statement from B Street Theatre. The theater has retained legal counsel to conduct an internal investigation, the statement said.
Prosecutors allege Busfield’s conduct “reflects a calculated pattern of grooming, lack of boundaries, and exploitation of professional authority to gain access to minors,” according to the motion for pretrial detention. Witnesses have said they fear retaliation and career harm for speaking out against him, demonstrating “how individuals in positions of power are able to silence victims and witnesses, allowing abuse to persist unchecked,” they wrote.
A representative for Busfield could not be reached Wednesday. His attorney Stanton “Larry” Stein previously said in a statement that the actor is innocent and “determined to clear his name.” He also referenced an affidavit in which Busfield suggested to investigators that the child actors’ mother might have sought “revenge” on the director for “not bringing her kids back for the final season.”
The actor, known for his work on television series “The West Wing” and “Thirtysomething,” turned himself in Tuesday, which prosecutors allege was five days after he knew a judge had issued a warrant for his arrest. During that time, Busfield traveled from New York to New Mexico to avoid the extradition process and surrender at a convenient time, the motion alleges.
He was booked into the Metropolitan Detention Center in Albuquerque, where he remained Wednesday.
Busfield is accused of inappropriately touching the two child actors, who are brothers, on the set of “The Cleaning Lady,” according to an affidavit. Their mother reported the abuse took place from November 2022 to spring 2024, according to the complaint. Police launched an investigation in November 2024 after being notified of the alleged abuse by a doctor at the University of New Mexico Hospital.
According to prosecutors, “Cleaning Lady” producer Warner Bros. conducted an investigation into Busfield’s behavior in February 2025 after the Screen Actors Guild-American Federation of Television and Radio Artists hotline fielded an anonymous complaint that the director entered a trailer on the set and kissed a 6-year-old boy on the face while he was getting a haircut. Another caller to the hotline claimed that, in September 2024, Busfield asked a parent to wait outside and took a minor — one of the alleged victims in the New Mexico case — behind closed doors for an audition at the Cinelease Studios office in Albuquerque, according to the motion.
A third-party investigator retained by Warner Bros., however, found no evidence that Busfield had been alone with the brothers on set or engaged in other inappropriate conduct, according to a statement from the investigator released by Stein, Busfield’s attorney. But the investigator failed to speak with one of the victims and his parents, as well as key witnesses, prosecutors allege in the motion.
Warner Bros. Television said in a statement that it takes all misconduct allegations seriously and has cooperated with law enforcement by expediting the sharing of the report by its third-party investigator, which it could have withheld as privileged. The studio has a clear non-retaliation policy to ensure employees feel comfortable reporting concerns, the statement said. “Our top priority is the health and safety of our cast and crew across all productions,” it said.
Busfield, who is married to actor Melissa Gilbert, was also accused of battery in March 2012 by a 28-year-old woman who said he sexually assaulted her in a Los Angeles movie theater, but prosecutors declined to file charges due to “slim evidence,” according to the motion for pretrial detention.
The hearing on the motion, during which a judge will decide whether Busfield remains in jail, will be scheduled in 2nd Judicial District Court in Albuquerque within the next five business days, said Camille Cordova, a public information officer for the Bernalillo County Metropolitan Court.
Before he surrendered, Busfield recorded a video at his attorney’s office in which he denied the allegations. “I’m gonna confront these lies,” he said in the video published by TMZ, “they’re horrible.”
Prosecutors called the move “troubling” and said it demonstrated “a willingness to prioritize personal narrative control and public relations” over complying with court processes.
Times staff writer Alexandra Del Rosario contributed to this report.
Movie Reviews
Movie Review: Jodie Foster shines as a psychoanalyst on the edge in ‘A Private Life’
Jodie Foster plays a self-assured psychoanalyst whose composure unravels after a patient unexpectedly dies in the genre-bending French film “A Private Life.”
Rebecca Zlotowski’s latest, in theaters Friday, is part noir, part comedy of remarriage, and part Freudian fever dream about past lives.
This is a film that does not abide by rules or play into any easy expectations about what it should be, resulting in big swings, tonal shifts and even a lurking Holocaust through-line. Also, oddly enough considering such grave themes and subjects, it’s all done with a relatively light touch set, in part, by the cheeky needle drop at its opening: the Talking Heads song “Psycho Killer.” Some parts work better than others, but you can’t help but admire the go-for-broke originality and unabashed femininity of it all. And anchoring it all is Foster, using the full force of her star power and impeccable French to make “A Private Life,” unwieldy and complex as it is, go down as easy as a glass of gamay.
Foster’s character, Dr. Lilian Steiner, is an American expat living and working in France. She’s an accomplished, sophisticated woman who believes she has a grasp on people and the world around her, recording and cataloging all her private sessions with clients on meticulously organized CDs. This act in and of itself is a little odd — her son wonders why she doesn’t just use a more modern method, for instance. But it also kind of gets to the heart of why, perhaps, despite her evident intelligence, there’s a cold disconnect between analyst and subject. Is she even listening to them?
Lilian starts to wonder this herself after she receives a call that her client Paula ( Virginie Efira ) has died by suicide. Paula was not someone she believed was capable of this. Instead of looking inward, she goes back to the tapes to begin an amateur investigation to find some other explanation: It must be murder, she concludes. Suspects include Paula’s daughter Valérie (Luàna Bajrami) and husband Simon (Mathieu Amalric).
She also enlists a sidekick in her sleuthing, her ex-husband Gabriel (a delightful Daniel Auteuil ) who is more than happy to go along for the ride, to listen to her conspiracy theories over several bottles of wine, to be a decoy distraction so that she can snoop through Simon’s house, and, ultimately, to just be there for her, no matter how unhinged she’s becoming. You can just see the love and admiration in his attentiveness. He’s not off put by the crazy; it’s just part of what makes her, well, her. Their rekindled relationship, so effortlessly lived in, so mature, so fun, is by far the highlight of “A Private Life.”
It’s a shame that their romance is basically a side show to the more convoluted rest, which involves a hypnotist and a revelation of a past life in which Lilian and Paula were members of the same WWII-era orchestra and lovers torn apart by jealous exes and Nazis. One of those Nazis is Lilian’s son (Vincent Lacoste), which she awkwardly, drunkenly tells him at his birthday dinner to try to explain why they’ve never been that close. She’s also completely disinterested in her grandchild, which might be one “let’s unpack that” too many in this film. In other words, there’s a lot going on in “A Private Life,” which Zlotowski co-wrote with Anne Berest.
This image released by Sony Pictures Classics shows Jodie Foster, left, and Virginie Efira in a scene from “A Private Life.” Credit: AP/Jérôme Prébois
One thing there’s not enough of is Efira. She gets some moments in flashback, but most of them teeter on the “dead wife montage” cliche. It’s not that Zlotowski wasn’t aware of what she had in Efira (case in point, their poignant, tender work together in “Other People’s Children”), but perhaps she was counting on our familiarity to fill in the gaps.
“A Private Life” is ultimately Foster’s show anyway and she seems to relish the tricky assignment. The tone around her might be on the lighter side, but for Lilian, the stakes are grave with the very essence of her self-worth and life’s work on the line. It’s a fascinating portrait of a woman essentially forced to rethink and revise all of the rules she’d lived by, the facts that she made sense of the world with and submit herself to the idea that some things might just be unknowable — even for a know-it-all psychoanalyst.
“A Private Life,” a Sony Pictures Classics release in theaters Friday, is rated R by the Motion Picture Association for “language, graphic nudity, brief violence, some sexual content.” Running time: 105 minutes. Three stars out of four.
Entertainment
Zoe Saldaña becomes the highest-grossing actor of all time
After another impressively profitable weekend in theaters, James Cameron’s “Avatar: Fire and Ash” helped crown its star Zoe Saldaña the queen of the box office.
The third “Avatar” movie boasted $21.3 million in North American sales last week, bringing it to a global total of $1.23 billion. With those impressive stats, Saldaña officially surpassed Scarlett Johansson as the highest-grossing actor of all time.
The Oscar winner has grossed more than $15.47 billion at the international box office, according to box office tracking website the Numbers. Johansson only recently gained the title after surpassing her “Avengers” co-star Samuel L. Jackson with the release of last summer’s “Jurassic World Rebirth.”
What helped buoy Saldaña to the top is the fact that the 47-year-old actor stars in the three highest-grossing films of all time: 2009’s “Avatar” ($2.9 billion), 2019’s “Avengers: Endgame” ($2.8 billion) and 2022’s “Avatar: The Way of Water” ($2.3 billion).
Saldaña is also the only actor to appear in four movies that brought in over $2 billion worldwide. (2018’s “Avengers: Infinity War” grossed $2.05 billion.)
Last year proved that Saldaña’s talent exceeded the realm of popcorn movies when she nabbed her first Academy Award for her supporting role in the controversial musical “Emilia Pérez.” Her win marked the first time an actor with Dominican roots had won an Oscar.
“I am a proud child of immigrant parents, with dreams and dignity and hardworking hands,” she said through tears while accepting the award for supporting actress. “And I am the first American of Dominican origin to accept an Academy Award, and I know I will not be the last.”
Saldaña cemented her Oscar win while side-stepping criticisms of the film — namely regarding its portrayals of Mexicans and transgender people — as well as the scandal that surrounded “Emilia Pérez” co-star Karla Sofía Gascón, when her offensive tweets with anti-Muslim, anti-diversity and racist language resurfaced.
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