Bafta 2026 film awards longlists hope to avoid #BaftasSoWhite diversity criticism

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With strong showings for Ryan Coogler’s Sinners and target hit for 50% female directors, criticism that has dogged the prizes in recent years may have been headed off For now, the Bafta film awards appears to have headed off further criticism over its long-running diversity crisis after revealing its longlists on Friday. Despite Bafta overhauling its awards voting system in 2020 after claims of “systemic racism” , outrage re-emerged in 2023 after no people of colour won awards . The longlists, which are an intermediate stage on the way to the final nominations with each category determined by different mixes of membership voting and jury selection, suggest that some progress is being made. Continue reading... from Film | The Guardian https://ift.tt/ws6nORV via IFTTT
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‘Life can be complicated’: Rachel Weisz on balancing privacy with stardom

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Her latest TV series calls for her to play both twins in a reworking of Cronenberg’s dark and bloody classic, Dead Ringers. But Rachel Weisz, the famously private Oscar-winner, is used to stepping in and out of roles

There’s quite a lot of blood. There’s really quite a lot of blood in Dead Ringers, but it’s not the blood of bullet holes or stab wounds, or any of the other violences one might expect in a dark psychological thriller like this. It’s blood on knickers and operating tables, and smeared on silk shirts, and the blood as a baby’s head crowns – the bloods of birth and loss, guttural screams, and in the middle of it all, Rachel Weisz, twice.

In David Cronenberg’s original 1988 film, a grisly examination of the relationship between the physical and mental self, Jeremy Irons played twin gynaecologists whose dubious ethics led to all manner of horrors. In this gender-swapped adaptation, in which Weisz stars and exec-produced, she plays those twins identical in every way but character. Dr Beverly Mantle is the shy moral introvert, whose love affair with a patient triggers a psychic unravelling between the sisters, while Elliot is a modern mad scientist, hungry for meat, drugs, conflict, godliness, sex. What could come off as a soapy trick, in Weisz’s Oscar-winning hands becomes camply surreal, uncanny, seductive, a little perverse – joy.

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