[et_pb_section fb_built=”1″ specialty=”on” admin_label=”Post Layout” _builder_version=”4.16″ collapsed=”off” global_colors_info=”{}”][et_pb_column type=”3_4″ specialty_columns=”3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_row_inner _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” locked=”off” global_colors_info=”{}”][et_pb_column_inner saved_specialty_column_type=”3_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”Gary’s Corner original text 2\/3 to 2\/5\/2023″ _builder_version=”4.19.4″ link_text_color=”#0c71c3″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” transform_scale_linked=”off” transform_translate_linked=”off” locked=”off” global_colors_info=”{}”]<\/p>\n
Along with our still-thriving long runs of Oscar nominee Bill Nighy in Living<\/em><\/strong> and Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb\u00a0<\/strong><\/em>(now including a third show time), we’re adding two new titles, each with some real-life drama of their own.<\/p>\n Many of you may have read about the film To Leslie<\/strong><\/em> and its mercurial actress Andrea Riseborough, whose ultra-low-budget, under-the-radar Oscar campaign last week resulted in a surprise Best Actress nomination. What to most industry observers (and lovers of the underdog) seemed like a refreshing triumph, aided by many glowing online endorsements from her fellow actors and a few impromptu screenings, has somehow come to be viewed elsewhere with suspicion.\u00a0Actress\u2019s Path to Surprise Oscar Nomination Is Scrutinized<\/a><\/p>\n My New Plaza colleagues Shawn Moore and Abbe Harris have been following To Leslie<\/strong><\/em> with admiration since its early fall theatrical release. Shawn is convinced that Riseborough’s performance as a hard-luck alcoholic grasping for her last shot at redemption, is easily the most powerful of the five Oscar nominees. This weekend you have a chance to see for yourself, in all its widescreen glory and gritty Texas drama.<\/p>\n On the other side of the world, Iranian filmmaker Jafar Panahi remains in prison, serving a six year sentence for questioning the arrests of two of his fellow filmmakers. Panahi’s Three Faces<\/strong><\/em> and his son Panah’s Hit the Road<\/em><\/strong> were both previously screened in our theatres. His last completed film No Bears <\/strong><\/em>opened here recently and deserves to be more widely seen. In it, Panahi plays – as he often does – himself directing a film in a remote location and struggling with both artistic and real-life moral crises. In his NY Times<\/em> Critic’s Pick review A.O. Scott notes,\u00a0 “….there may be no living filmmaker who has considered the practical and philosophical implications of the art form – the work of shooting and cutting; the pleasure and anxiety of watching – as rigorously or as significantly…”<\/p>\n