Star Wars: Starfighter is getting ready to hit the ground running.
Filmmaker Shawn Levy took to Instagram on Thursday to celebrate the forthcoming feature having wrapped filming. Ryan Gosling stars in the movie that Disney is set to release theatrically on May 28, 2027.
Levy shared a photo of himself jogging along the set. He added the caption, “That’s a wrap! Headed into #Starfighter post-production like…”
The director previously marked the start of the shoot in September by sharing a photo of Gosling and co-star Flynn Gray posing in costume with the Mediterranean Sea behind them. “Somewhere in the Mediterranean Sea #Starfighter,” Levy captioned that image.
Plot details for Star Wars: Starfighter have not yet been revealed, although the stand-alone movie is set roughly five years after the events of 2019’s Star Wars: The Rise of Skywalker, which was the last title from the franchise to hit theaters. Director Jon Favreau’s The Mandalorian & Grogu is set for theatrical release on May 22, 2026, as a spinoff to the Disney+ series The Mandalorian.
“The reality is that this script is just so good. It has such a great story with great and original characters,” Gosling told the audience earlier this year at Star Wars Celebration in Tokyo. “It’s filled with so much heart and adventure, and there just really is not a more perfect filmmaker for this particular story than Shawn.”
Jonathan Tropper wrote the script for the movie that Levy has been developing since 2022. Levy and Kathleen Kennedy serve as producers.
Levy’s recent directorial credits include Disney’s massive hit Deadpool & Wolverine and Netflix’s The Adam Project.
Balkan Erotic Epic is Abramović’s largest performance work to date, with a cast of more than 70 performers. Courtesy the artist
More than two hours passed before I surrendered to the plush black turf underfoot, slumping down against the towering penises rooted in a grove between two performances of Sisyphean end zone celebrations. One stage, entitled “Fucking the Ground/Fertility Rites,” featured five weary, wiry naked men joylessly thrusting into grassy hillocks with the intention of fertilizing the barren soil. A field opposite them, “Scaring the Gods to Stop the Rain,” served as a showcase for a melting pot of Balkan maiden-attired gymnasts of all ages, wearing anguished faces ranging from raging Maori war cry to the teary trepidation of a young Amy Adams. All of them repeated their skirt-hiking rite, jumping and collapsing, contorting and thrusting, while exposing their sex, undress rehearsals for an anti-raindance, a stormy showdown with the heavens above.
That final confrontation is one of two climaxes, one fable, one personal, anchoring Marina Abramovic’s latest work, Balkan Erotic Epic. Performance artist Maria Stamenković Herranz is cast in the role of Abramovic’s late unloving mother, decorated Yugoslavia People’s Army officer Danica Rosic. Here, she navigates her daughter’s tortured psyche, manifested as thirteen stages of Balkan folklore rooted in love, marriage, death, sex and power, dated from medieval times through the Cold War and interpreted in film, animation, music, dancing and milk bathing. The four-hour performance continues long after Danica succumbs to the sexual liberation Abramovic impresses upon her mother’s spirit.
I couldn’t check my phone to be sure of what time I finally settled in among the cross-legged and collapsed—ticket holders were required to lock their phones in a pouch before entering the Warehouse at Aviva Studios, where Balkan Erotic Epic premiered in Manchester this October ahead of Frieze London. The North American premiere will take place at New York’s Park Avenue Armory next December.
Marina Abramovic and Kath Fitzgibbon. Photo: Marco Anelli
Support staff had two jobs. One, spot-checking guests to ensure their phones were locked up and two, making sure no audience members encroached on the steps leading to “The Kafana Complex,” an open-plan “pub, restaurant, music venue and public living room,” where avatars of the late Yugoslavian dictator Josip Broz Tito’s grieving widow, all of them resembling a caricature of Abramovic if she were drawn by The Far Side cartoonist Gary Larson, sat emotionally unmoved and physically paralyzed, clutching their handbags.
There’s no ambiguity about what will eventually take place here before the night is over; the program promises Rosic will find a release she never found in life. “My mother was extremely difficult,” Abramovic told the assembled audience ahead of the performance. “I was forty years old and I asked her, “why do you never kiss me?” She said, “why should I kiss you? I would spoil you.” She wanted to make a warrior of me. She never felt emotions, love, sexual desire. I need to liberate my mother from all this so I can move on after this piece with a different part of my life.”
The problem here, in this show where women whose natural eroticism was trapped across time in ritual, is Abramovic commits her mother to the same fate. No woman here knows liberation and the sexual liberation Abramovic imposes upon her is nonconsensual, an analog Black Mirror moment that brings to mind a new A.I. app that’s made headlines this week—2Wai—which allows for users to record themselves, submitting their voice and body to create a virtual avatar that can be used in the future, per the company’s own example, for a deceased grandmother to speak to their grandchildren. If we wonder what nefarious end these avatars might meet, we only look to Abramovic exposing her mother to endless looping eroticism she chose not to experience in real life.
“No phone,” ushers would shrug when I inquired about the time, before I caught one sporting a wristwatch. She informed me I still had another hour and a half to go before a sudden rainfall started then stopped, after succumbing to the fearsome power of women’s bodies. However, the audience seemed eager to move on. Hundreds of attendees peeled off before the night was over, treating the show as more of a gallery space than a performance space despite Abramovic doing her best ahead of time to assure the conclusion was worth the wait.
Natalia Leniartek and Saskia Roy. Photo: Marco Anelli
“Wait for the rain,” Abramovic said. The night began with the artist occupying a stage in the Aviva lobby, reading the audience into the performance, a cheat sheet for those who didn’t spring for the cost of the program despite the attendees picking bare the gift shop walls of assorted merch—aprons, throw pillows—that didn’t always give the correct impression of a show about Balkan folklore nor embody its intended themes. One bestselling tee shirt featured a program illustration of Abramovic flying on a bridled winged penis, but the show feels devoid of triumph. The show only demonstrates that ritual wears down men and women alike.
“Six pounds for a program is too high a price—it’s not my fault,” Abramovic acknowledged during her pep rally. “I’ll take a look at it, because it’s important for you to see each ritual and what it means. We’re showing thirteen different moments in this space, like thirteen children giving birth at the same time.” And she wasn’t kidding. “A friend told me the other day, you create space that looks like Balkan and smells like Balkan—that’s a big compliment.”
Balkan Erotic Epic won’t always be staged like this however, nor was it intended to be, according to Aviva Studios’ artistic director John McGrath. “[Marina] came to the press night for Free Your Mind,” he told Observer, referring to Manchester native son Danny Boyle’s 2023 modern dance interpretation of The Matrix, which opened Aviva Studios’ inaugural season. “But she’d been looking at the venue even earlier. We’d been in conversation since she visited during the 2019 Manchester International Festival and it was in 2022 or 2023 that she shared Balkan Erotic Epic as a broad idea.”
At that time, McGrath said, Abramovic imagined a seated show. She had just completed The Seven Deaths of Maria Callas on opera stages and considered continuing to explore that format. But after hosting a spring 2023 workshop in Manchester, the scenes evolved, exiting Aviva’s theater for its Warehouse space. In the future, a sequential stage version is planned for Barcelona, while performances in Germany and in New York will receive the multi-stage Manchester production.
Those performances will likely have one site-specific element that defines them. Here, performance artist Elke Luyten plays a Flemish anthropologist outfitted in a white lab coat. She silently holds court in erection alley before intermittently sharing her own takes on “Balkan Magic” while seemingly ad-libbing takes on Manchester’s weather, environment and population.
Rowena Gander and Vanda Hagan. Photo: Marco Anelli
“She doesn’t understand shit about Balkan and she is confused,” Abramovic said of the character, comic relief breaking up the trauma of a nearby grieving bride tasked to marry a dead groom, a mourning dance at times set to opera and instruments that proves the most emotionally and physically taxing of the thirteen performances.
Luyten’s performance meanwhile had the effect of an alarm clock blaring news radio, interrupting Abramovic’s dream with a reminder of when and where we are. She’s trying to wake up Abramovic—a bit player here, coming and going from the pub stage at her leisure—to the reality her mother is dead and this self-flagellating dream of closer intimacy with her mother is long beyond her reach. At the same time, Luyten doubles as a high art Krusty the Klown, ending her insights with the introduction of erotic cartoons.
“The only way to show certain rituals we couldn’t show any other way is animation,” Abramovic explained. “There is no other way to show in our present time with all the restrictions we have in our society.” It’s a statement that comes across as lazy and dishonest.
Animations included recipes for love potions and sexual healing (e.g., the 14th C. Bosnian ritual, “Wedding Day Protection,” in which a man makes three holes in a bridge and penetrates them to ensure he won’t be impotent on his wedding day). It’s an act no more scandalous to recreate than the naked men fertilizing the soil feet away from me. If others come closer to the definition of pornography, that doesn’t preclude the possibility of capturing performers on film. Balkan Erotic Epic also includes a cinematic component, including a wall-length choir of nude men maintaining various states of erection while singing.
The 12th C. Macedonian ritual “Child Delivery” involves a man crossing his erect penis over his wife’s breasts to ease the pain of her childbirth, while a 15th C. Serbian “Love Potion” involves a recipe consisting of hairs extracted from forehead, eyebrow, armpit, nipple and vagina then mixed with menstrual blood and the prick of a woman’s ring finger. A 15th C. Kosovan act of “War Strategy” involves undressing and masturbating before enemy soldiers.
“Everything was created in Manchester, filmed in Manchester, shown in Manchester and one thing about Manchester that’s very important—you’re the bravest, you show new things you can’t show anywhere else in the world. I don’t know if we will finish in prison or in daylight,” Abramovic said with some exaggeration.
Elke Luyten. Photo: Marco Anelli
Maybe she didn’t know where to look. Balkan Erotic Epic proved the highlight of Frieze London was in Manchester, but the roles are reversed this weekend, when London’s Barbican Centre hosts Dirty Weekend, an adults-only weekend of sexual liberation and community outreach, all-gender speed dating and fashion workshops, in conjunction with their new fashion exhibition “Dirty Looks: Desire and Decay in Fashion,” which runs through January 25, 2026. The looks on display, from Alexander McQueen to Michaela Stark, focus on aesthetics impacted by the natural grime of earth and our own bodies. You can even make your own tee shirt.
When I first saw the animations in Balkan Erotic Epic, I immediately thought it a missed opportunity for Abramovic to partner with Four Chambers, U.K. porn performer, producer, director and sex worker advocate Vex Ashley’s decade-old video project that straddles art porn with A24 aesthetics, prioritizes female empowerment and has on occasion been more forthright in pushing the boundaries between sex and maternity than Abramovic’s Freudian wish fulfillment, an artist statement-cum-fetish to unburden herself of some childhood longing to glimpse her parents through a crack in the bedroom door.
In Four Chambers’ latest film, Some Reddish Work, which premiered earlier this month, maidens dressed not dissimilar to the raindancers showed just how well they would have embodied the Balkan Erotic Epic universe. And for their effort, they aren’t shut out of legitimate art spaces but prove a draw. Their participation in the Barbican’s Dirty Weekend this November 29-30 promises to bring their “living archive that blurs cinema, performance, sexuality and fine art,” and Ashley will participate in a keynote panel on intimacy and censorship. Here, only the debate is animated.
When James Gunn’s “Superman” flies into theaters in July 2025, Amy Adams will be watching. The six-time Oscar nominee, who starred as Lois Lane in several DC Extended Universe films, says she’s looking forward to seeing the “Guardians of the Galaxy” director’s new take on the beloved superhero.
“I’m just a big fan of the franchise, always,” she tells Variety in her Power of Women cover story.
Adams says she’s particularly excited to watch “The Marvelous Mrs. Maisel” star Rachel Brosnahan as she picks up the role of the tenacious reporter and Clark Kent’s love interest. “I love her. She’s gonna be great. Hopefully the role will be infused with her sensibility and her natural humor and strength and wit,” she says. “I’m really looking forward to it. I really like her.”
The “Nightbitch” star also confirms she was never under the impression she’d be returning for more “Superman” adventures after her final appearance as Lois in 2017’s “Justice League.” “I always understood they were moving in a more ‘Justice League’ direction,” she says.
Adams’ own Man of Steel, Henry Cavill, said in Oct. 2022 that he would return as Superman in a new Warner Bros. film, following his cameo at the end of “Black Adam.” But that return was short-lived, as Warner Bros. and DC Studios announced Gunn and Peter Safran as the latter company’s new bosses about a month later. The duo’s overhaul plans included a new Superman actor to anchor their universe. They ultimately cast David Corenswet.
Adams made a point to praise Cavill’s performance, adding, “Henry was a really brilliant Superman. I offer every Superman luck and stuff, but I think he was great. I just wanted to say that. It’s so in his spirit.”
Adams says she always knew those iconic roles would only be theirs for a fleeting moment, explaing: “Coming from theater, a role never belongs to you. You just do a take on it. That’s how I feel about that franchise.”
Pedro Almodóvar’s The Room Next Door and Marielle Heller’s Nightbitch, the two most highly-anticipated films that screened at the Toronto International Film Festival on Saturday night, are in some ways very similar: both are adaptations of novels by filmmakers who have been bringing quality films to TIFF for years, and both center on complex female protagonists played by first-rate actresses. But their receptions at the fest, and their awards prospects moving forward, couldn’t be more different.
The Room Next Door, which is Spaniard Almodóvar’s English-language feature directorial debut, came to Toronto via the Venice Film Festival, and was unveiled here just hours after the Venice jury bestowed upon the film its highest honor, the Golden Lion — which is somehow the first top prize from a major film festival that the 74-year-old auteur has ever been awarded.
Adapted from Sigrid Nunez’s 2020 novel What Are You Going Through?, the film stars two Oscar-winning heavyweights — Tilda Swinton, with whom Almodóvar previously collaborated on the 2020 short The Human Voice, and Julianne Moore, working with him for the first time — as old chums who grew apart but reconnect after Moore’s character, a bestselling author, learns that Swinton’s character, a veteran war correspondent, has received a bleak diagnosis. Their rekindled friendship is then tested by an unusual request by one of the other.
There has always been something in Almodóvar’s writing and/or direction that has elicited from his actresses some of the best work of their careers, and this film — despite some overall shortcomings that may relate to the filmmaker’s decision to venture into the English language and American culture — is no exception.
It will be interesting to see how Sony Classics — Almodóvar’s longtime U.S. distributor, which is set to release this film before the end of the year on a date still to be determined — ends up campaigning for the two women, who were — along with John Turturro, who plays a character who was a lover of both women — guests of honor at the company’s annual TIFF press dinner on Saturday night. Swinton has a particularly juicy part, or — spoiler alert — as it turns out, parts, so it’s hard for me to see her not going lead. Moore has at least as much screen time, but her character revolves around Swinton’s, so I think a case could be made for her to go lead or supporting.
Elsewhere, you should look out for the film in the category of best picture; Almodóvar for best director and best adapted screenplay; Eddie Grau’s work for best cinematography; and Alberto Iglesias’ original score (the most recent of Iglesias’ four Oscar noms came for his score of Almodóvar’s 2021 film Parallel Mothers).
Nightbitch, meanwhile, was adapted from Rachel Yoder’s 2021 book of the same name, and was directed by Heller, who previously premiered at TIFF her 2018 film Can You Ever Forgive Me? and 2019 film A Beautiful Day in the Neighborhood (both of which went on to receive acting Oscar noms, with the former also picking up a screenplay nom). The film, which Heller says she worked on while experiencing postpartum depression after the birth of her second child, is essentially about how tough motherhood is and how resilient mothers are, as demonstrated by the experience of Amy Adams’ character, who loves her young son but increasingly — and justifiably — resents the sacrifices that she has been forced to make in order to parent him.
Nightbitch is finally reaching audiences after a long and troubled gestation, during which its story and tone appear to have been impacted. (Its unusual title, in case you were wondering, refers to a metaphor that feels strained and then gets somewhat lost in the film.) Adams, needless to say, is a tremendously gifted actress, and she does her darndest in this film, on which she also served as a producer. But, in terms of awards season, I think that this film, across the board, is going to have a hard time finding traction. It’s just a bit all over the place.
As a result, Searchlight, which is set to release it on Dec. 6, will probably focus more of its awards efforts on the two other contenders it has on its slate this season, A Real Pain and A Complete Unknown.
When you hear about a movie titled Nightbitch, it’s only natural to be curious about its subject. So you dig a little deeper and find out Amy Adams stars in it. Finally, you watch the trailer, which reveals a bizarre plot about a woman who thinks she’s turning into a dog.
Okay, Nightbitch, you have my attention!
What is Nightbitch about?
(Searchlight Pictures)
You’ll probably think this is bonkers and something straight out of Yorgos Lanthimos’ filmography. But Nightbitch, starring the amazing Amy Adams, is a horror comedy from actor and filmmaker Marielle Heller, director of the Melissa McCarthy starrer Can You Ever Forgive Me? and the Fred Rogers biopic starring Tom Hanks, A Beautiful Day In The Neighbourhood.
The film’s official logline from Searchlight Pictures reads, “A woman pauses her career to be a stay-at-home mom, but soon her domesticity takes a surreal turn.” In Nightbitch, Amy Adams plays a stay-at-home mom to a two-year-old son, struggling with loneliness and exhaustion. She’s reduced to taking care of every living being in her house, including her son, husband, and their pet, and it feels like the story of every woman who has had to be the default caregiver, putting her own life and dreams on hold for her family. But here’s where a twist arrives.
One night, she notices small changes in her, like sharper canine teeth, and eventually, she realizes that she is turning into a dog. (Yes, really). This revelation creates a whole new sense of power to tackle the beast that is motherhood!
Is Nightbitch based on a book?
(Doubleday Books)
Nightbitch is based on a literary fiction novel of the same name by American author Rachel Yoder, who made her debut with this book in 2021. The novel, touted as an incisive, feral, feminist, and original take on contemporary womanhood, made it to several best book lists and won a number of accolades, too.
In July 2020, a year before the novel was published by Doubleday Books, a Deadline exclusive revealed that Annapurna Pictures had acquired the worldwide rights for Yoder’s unpublished novel in an auction and would be jointly producing it with Adams’ and Stacy O’Neil’s production house.
The Hollywood Reporter offered an update on the film in 2022, stating that Marielle Heller would be writing, directing, and producing the film (via her company Defiant By Nature). Heller had connected with Yoder’s book and said that it took her breath away, and “Rachel’s darkly hilarious tale of motherhood and rage made me feel seen.” Production was to start tentatively in September of the same year, with the film going straight to streaming on Hulu.
Thankfully, instead, Nightbitch is ready to roll in the mud and bark loudly to rouse us all with a theatrical release. The trailer looks every bit as intriguing and weird as the premise promised and I cannot wait for the early reviews to come out of TIFF, with fingers crossed that they are good ones so that I can watch this feral movie with my fellow ladies on the big screen.
When will Nightbitch release in theatres?
An official trailer for Nightbitch was released on September 3, 2024, a few days before the film is set to premiere at the Toronto International Film Festival on September 7, 2024. Amy Adams is also a producer on the film under her production house Bond Group Entertainment, alongside Annapurna Pictures, her fifth collaboration with them after American Hustle, Her, The Master, and Vice. The film’s cast includes Scoot McNairy, Arleigh Patrick Snowden, Emmett James Snowden, Zoë Chao, Ella Thomas, Mary Holland, Jessica Harper, and Archana Rajan.
While the early reviews might be out soon after its September 6 premiere at TIFF, the rest of us will have to wait a bit to watch it. Nightbitch is slated for release on December 6, 2024.
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Amy Adams is a versatile actress known for her captivating performances across various genres. With a career spanning decades, Adams has showcased her talent in numerous acclaimed films. From enchanting audiences as a fairy-tale princess in Enchanted to delivering powerful dramatic roles in Doubt and Arrival, she consistently impresses with her depth and range. Adams’ versatility shines through in each role, earning her critical acclaim and multiple award nominations, solidifying her status as one of Hollywood’s most talented and beloved actresses.
Top 9 Amy Adams’ Movies on Netflix
Big Eyes (January 9, 2015)
In the film Big Eyes, Amy Adams portrays Margaret Keane, a talented artist whose paintings of wide-eyed children become a sensation in the 1950s and 1960s. Despite her remarkable artistic abilities, Margaret’s work is initially attributed to her husband, Walter Keane, played by Christoph Waltz, who takes credit for her creations. As Margaret’s paintings garner widespread acclaim, she struggles to assert her own identity and claim recognition for her art. Amy Adams delivers a nuanced and poignant performance, capturing Margaret’s journey of empowerment and self-discovery in the face of artistic exploitation and societal expectations. Her portrayal is both captivating and emotionally resonant.
The Fighter is a gripping sports drama film directed by David O. Russell, released in 2010. The film follows the real-life story of professional boxer Micky Ward, played by Mark Wahlberg, and his tumultuous relationship with his family, particularly his older half-brother, Dicky Eklund, portrayed by Christian Bale. Amy Adams stars as Charlene Fleming, Micky’s tough and supportive girlfriend, who encourages him to break free from his family’s influence and pursue his boxing career independently. Adams delivers a compelling performance, imbuing Charlene with strength, resilience, and unwavering loyalty. Her portrayal adds depth to the film’s exploration of family dynamics, redemption, and the pursuit of one’s dreams.
Justice League (November 17, 2017)
Justice League is a superhero film released in 2017, directed by Zack Snyder. Amy Adams stars in the film as Lois Lane, a fearless journalist and love interest of Clark Kent, also known as Superman, played by Henry Cavill. As a key member of the ensemble cast, Adams brings depth and humanity to her role, portraying Lois as a determined and compassionate character who stands by Superman’s side in the battle against supervillains threatening Earth. Adams’ performance adds emotional weight to the film, highlighting Lois Lane’s importance not only as a love interest but also as a symbol of hope and resilience in the face of adversity.
Hillbilly Elegy (November 11, 2020)
Hillbilly Elegy is a drama film released in 2020, directed by Ron Howard. Amy Adams stars in the film as Bev Vance, a troubled mother grappling with addiction and family dynamics in rural Appalachia. Portraying a complex and deeply flawed character, Adams delivers a raw and powerful performance, capturing Bev’s struggles with substance abuse and her tumultuous relationship with her son, J.D. Vance, played by Gabriel Basso. Through her nuanced portrayal, Adams brings depth and empathy to Bev’s character, shedding light on the challenges faced by working-class families and the resilience required to overcome adversity in pursuit of a better life.
Nocturnal Animals (November 23, 2016)
Nocturnal Animals is a psychological thriller released in 2016, directed by Tom Ford. In the film, Amy Adams plays the role of Susan Morrow, a successful art gallery owner who receives a manuscript from her ex-husband, Edward Sheffield, played by Jake Gyllenhaal. As Susan reads Edward’s novel, she becomes consumed by its dark and unsettling story, which parallels their past relationship. Amy Adams delivers a haunting and introspective performance, capturing Susan’s inner turmoil and regrets as she confronts the consequences of her past actions. Adams’ portrayal adds layers of complexity to the film, exploring themes of guilt, redemption, and the blurred lines between reality and fiction.
Vice (December 25, 2018)
Vice is a biographical comedy-drama film released in 2018, directed by Adam McKay. In the film, Amy Adams portrays Lynne Cheney, the wife of former Vice President Dick Cheney, played by Christian Bale. Adams delivers a commanding performance as Lynne, capturing her intelligence, ambition, and influence in shaping her husband’s political career. Through her portrayal, Adams highlights Lynne’s complex relationship with power and her unwavering support for Cheney’s political aspirations. Adams’ nuanced performance adds depth to the film, offering insight into the dynamics of one of the most powerful couples in American politics.
The Woman in the Window (May 14, 2021)
The Woman in the Window is a psychological thriller film released in 2021, directed by Joe Wright. In the film, Amy Adams stars as Anna Fox, an agoraphobic psychologist who spends her days observing her neighbors from the windows of her New York City brownstone. When Anna witnesses a disturbing event in the home across the street, her life takes a dark and twisted turn as she becomes entangled in a web of secrets and deception. Amy Adams delivers a captivating performance, portraying Anna with depth and vulnerability as she navigates paranoia and reality in her quest for the truth. Adams’ portrayal adds suspense and intensity to the film, keeping audiences on the edge of their seats until the very end.
Arrival (September 2, 2016)
Arrival is a science fiction film released in 2016, directed by Denis Villeneuve. In the film, Amy Adams portrays Dr. Louise Banks, a linguist recruited by the military to communicate with extraterrestrial visitors who have arrived on Earth. As Dr. Banks attempts to decipher the aliens’ language and intentions, she grapples with her own personal grief and experiences profound revelations about time, language, and humanity’s place in the universe. Amy Adams delivers a mesmerizing performance, capturing Dr. Banks’ intelligence, empathy, and emotional depth as she navigates the complexities of first contact. Adams’ portrayal adds emotional resonance to the film, elevating it beyond the typical sci-fi genre fare into a thought-provoking exploration of communication and connection.
Batman v Superman: Dawn of Justice (March 25, 2016)
In Batman v Superman: Dawn of Justice, a superhero film released in 2016 and directed by Zack Snyder, Amy Adams reprises her role as Lois Lane, the intrepid journalist and love interest of Superman. As the film delves into the conflict between Batman and Superman, Lois plays a pivotal role in uncovering the truth behind the escalating tensions and confronting the forces threatening the world. Amy Adams brings depth and authenticity to her portrayal of Lois Lane, showcasing her tenacity, intelligence, and unwavering support for Superman amidst the chaos and turmoil. Adams’ performance adds emotional resonance to the film, grounding the superhero spectacle in human drama and relationships.
Man of Steel (June 14, 2013)
In Man of Steel, a superhero film released in 2013 and directed by Zack Snyder, Amy Adams stars as Lois Lane, the fearless journalist determined to uncover the truth about the mysterious figure known as Superman. As Superman grapples with his identity and destiny, Lois becomes entangled in his journey, forming a deep connection with the alien superhero. Amy Adams delivers a compelling performance as Lois Lane, capturing her intelligence, bravery, and unwavering pursuit of justice. Adams’ portrayal adds depth and humanity to the film, grounding the epic superhero story in relatable characters and emotional resonance.
Every year, the Academy Awards come along to grace a handful of nominated actors with a golden statue. But let’s face it. Hollywood is teeming with talent, and just because you’ve risen to A-lister status doesn’t mean you’re automatically guaranteed an Oscar. In fact, over the years, there have been plenty of seasoned actors who have experienced tremendous success in the movie and television industry — but they’ve never won an Academy Award. While it may be hard to believe based on their impressive careers, these celebrities have never gone home with that coveted award.
Why is that, exactly? Well, it’s pretty obvious that there are several different factors that go into selecting a winner for Best Actor or Best Actress. Like pretty much every other art form, reception to a performance is subjective. What might be one person’s idea of “best” is another person’s “very good.” And, even if everyone’s performances were all considered equal in terms of quality, there still has to be one winner.
Some actors — such as Leonardo DiCaprio, for instance — spend years delivering memorable performance after memorable performance, only to be passed over continuously by the Academy. DiCaprio finally broke this cycle with his ambitious performance as frontiersman Hugh Glass in the 2015 film The Revenant, which won him the Oscar for Best Actor. While some famous actors go their whole careers without ever achieving that milestone, it doesn’t mean they aren’t deserving. Sometimes, the timing just isn’t right. Here are 12 actors who have surprisingly never won an Oscar.
12 Actors Who Have Surprisingly Never Won An Oscar
These great actors have given unforgettable performances in classic films. None of them have won an Academy Award.
In GQ’s November cover story, published Wednesday, Bale recalled trying to keep the peace between the two. Adams had previously said she butted heads with Russell on the film set.
“If I can have some sense of understanding of where it’s coming from, then I do tend to attempt to be a mediator,” the Oscar-winning actor said about the friction between Adams and Russell. “That’s just in my nature, to try to say, ‘Hey, come on, let’s go and sit down and figure that out. There’s gotta be a way of making this all work.’”
Adams and Bale filming a scene from “American Hustle” in 2013.
Boston Herald via Getty Images
In 2016, Adams told British GQ that the “Silver Linings Playbook” director made her cry during her time on “American Hustle.”
Adams said she also learned through an email hack at Sony that she was being paid less than her male co-stars, including Bale, which added to her frustrations.
“I was really just devastated on set,” Adams said to British GQ.
The Sony hack also revealed that Russell “so abused Amy Adams that Christian Bale got in his face and told him to stop acting like an asshole” on the “American Hustle” set.
Bale’s interviewer noted in his recent GQ profile that when he questioned Bale about standing up to Russell on Adams’ behalf, he responded by nodding “yes.”
Adams, Bradley Cooper and David O. Russell at the Critics’ Choice Awards in 2013.
Christopher Polk via Getty Images
Bale, however, was careful with his choice of words while confirming that he stuck up for Adams, saying “there are gonna be upsets,” given the “crazy creative talent” of Adams and Russell.
Adams is not the first actor to report having difficulty working with Russell.
In 2004, a video from the set of “I Heart Huckabees” showed Russell yelling profanities at star Lily Tomlin and angrily throwing props. In 2015, TMZ reported that Russell and Jennifer Lawrence engaged in a heated conversation on the set of “Joy.” Lawrence did try to clear up “rumors” that they fought by releasing a statement that Russell “is one of my closest friends and we have an amazing collaborative working relationship.”
Although Bale told GQ that he acted as a “mediator” on the set of “American Hustle,” he’s also been caught being far less composed on set.
In 2009, a viral video seemed to show Bale viciously ripping into the director of photography on the set of “Terminator Salvation.” Shane Hurlbut received the profanity-filled tongue-lashing after he made the mistake of walking into Bale’s scene during a take.
Bale later confirmed that he did have the on-set temper tantrum and apologized for his actions, calling his behavior “inexcusable” and admitting he “acted like a punk.”
