Whether portraying heroes, villains, or everyday individuals, actors use their creativity, empathy, and training to breathe life into the roles they play. MANOHLA DARGIS Unhappy or not, wives can be dead ends for actresses and for too many there comes that time when they’ve been forever banished to the kitchen. Moore has played plenty of wives and mothers, but hers are sometimes more complex and surprising than her movies, an index of her sensitivities and talent. Moore can externalize a character’s interior state beautifully, so you see feelings surface on her skin. But she’s an artist of extremes, and she and Cronenberg have fun playing with her gargoyle faces.

• Huppert plays a French plantation owner clinging to the last bit of colonial privilege in an African country convulsed by violence.
• If you’re new to the industry and don’t have any footage yet for your acting reel, don’t sweat it.
• This is because the casting director may only watch some of it, so you must grab their attention immediately.
• Equally at home in Hollywood blockbusters and quieter dramatic fare, her range is undeniable – but she’s especially adept at playing women facing inevitable doom.
• While she is mainly known as a film actor, she has also played TV roles on shows like Only Murders in the Building and Big Little Lies.

Imagine if the same actor were cast as both Richard Nixon and Barack Obama, or Winston Churchill and Margaret Thatcher. Andreotti, a seven-time prime minister and a prime mover in the long-ruling Christian Democratic Party, was a notorious backroom operator, shrewd and almost defiantly uncharismatic. Berlusconi, also a serial prime minister, was all bluster and charm, repellently sleazy to some Italians and https://ohenecornelius.com/ endlessly magnetic to others. A. O. SCOTT The unhappy American housewife — smiling to keep up appearances in the face of domestic tragedy and inner turmoil — is a durable movie archetype. It’s one that Julianne Moore has both explored and exploded, in “The Hours” (2002) and especially in her collaborations with Todd Haynes like “Far From Heaven” (2002).

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DARGIS That doubling shapes her most androgynous performances, where she effortlessly blurs gender, confirming (yet again) the inadequacy of categories like “man” and “woman.” She’s both; she’s neither. A different doubling happens when she plays twins, in the 2016 “Hail, Caesar! ” (as rival gossip columnists) and in “Okja” the next year (as visually distinct very cruel captains of industry). In each, Swinton shows us two sides of the same person, much as she does in “Michael Clayton” (2007) when her lawyer rehearses a duplicitous spiel in front of a mirror. As the lawyer talks, pauses and drops her smile, you see her desperately trying to control a reflection that is already cracking.

Their fates sourly cross after she’s caught trashing his house, and is shaped by the unearned optimism that’s foundational to American cinema. What saves the movie, though, is the window Morgan opens onto the Black cowboy and how the performance complicates America’s favorite myths, including the figure of the hard, stoic loner. Abe doesn’t ride in from John Wayne territory; Abe rides in from an entirely different land that Morgan makes visceral, haunted and wholly alive. In each of the other movies, he plays a father, in the Jim Crow South and the modern urban North — a man who knows more than he chooses to say. The sons in those movies do most of the talking, but Morgan gives eloquent expression to experiences that lie outside the main story even as they ground it in a larger history. He listens, he chews sunflower seeds, he plays a few chords on an old pipe organ, and after a few minutes in his presence you understand exactly what you need to know.

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Your next alternative is grabbing a bunch of filmmaker/actor friends together and getting them to help you out making your own showreel. This will require a lot of proactivity and hard work on your behalf – but it can be done! This means you can work to your own schedule, and your own budget. All you’ll need is a great script, a camera operator, a sound operator and another actor to act with. The camera operator and the audio person will ideally have their own equipment, otherwise you can rent equipment you need from a rental house. Now, because they’re your mates, you can either pay them in beer, or throw them some cash to say thanks.

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One pleasure of a virtuosic performer is watching them rise above their material. Kidman has done so repeatedly, including in “Birth” (2004), in which she plays a widow who comes to believe that a 10-year-old boy is the reincarnation of her dead husband. It’s pretentious twaddle that Kidman graces with delicacy and pinpricks of emotion. Michael B. Jordan has played lawyers, athletes and superheroes, but even before his range became clear, the director Ryan Coogler wanted to work with him. Coogler has made three features (“Fruitvale Station,” “Creed” and “Black Panther”) and Jordan stars or co-stars in all of them. We asked the director to explain just what it is about the actor that draws us in. The two films that have given her the most room — Steve McQueen’s “12 Years a Slave” (2013) and Chinonye Chukwu’s “Clemency” (2019) — both place the question of justice front and center.