'The Power of the Dog' Wins Best Picture at UK's Baftas

Joanna Scanlan holds her Best Actress award for her role in the film 'After Love' at the 75th British Academy Film Awards, BAFTA's, in London Sunday, March 13, 2022. (AP)
Joanna Scanlan holds her Best Actress award for her role in the film 'After Love' at the 75th British Academy Film Awards, BAFTA's, in London Sunday, March 13, 2022. (AP)
TT

'The Power of the Dog' Wins Best Picture at UK's Baftas

Joanna Scanlan holds her Best Actress award for her role in the film 'After Love' at the 75th British Academy Film Awards, BAFTA's, in London Sunday, March 13, 2022. (AP)
Joanna Scanlan holds her Best Actress award for her role in the film 'After Love' at the 75th British Academy Film Awards, BAFTA's, in London Sunday, March 13, 2022. (AP)

Sci-fi epic “Dune” won five prizes and brooding Western “The Power of the Dog” was named best picture as the British Academy Film Awards returned Sunday with a live, black-tie ceremony after a pandemic-curtailed event in 2021.

New Zealand filmmaker Jane Campion was named best director for “The Power of the Dog,” becoming only the third woman to win the prize in the awards’ seven-decade history.

Lead acting trophies went to Hollywood star Will Smith and British performer Joanna Scanlan, as an event that has worked to overcome a historic lack of diversity recognized a wide range of talents — including its first deaf acting winner in Troy Kotsur for “CODA.”

Last year’s awards ceremony was largely conducted online, with only the hosts and presenters appearing in person. This year’s return to collective celebration at London’s Royal Albert Hall took place in the shadow of Russia’s brutal invasion of Ukraine.

British film academy chairman Krishnendu Majumdar opened the show, hosted by Australian actor-comedian Rebel Wilson, with a message of support for Ukraine.

“We stand in solidarity with those who are bravely fighting for their country and we share their hope for a return to peace," he said.

After that came the glitz, with 85-year-old diva Shirley Bassey and a live orchestra performing “Diamonds Are Forever” to mark the 60th anniversary of the James Bond films, Britain's most successful movie export.

“Bond is turning 60, and his girlfriends are turning 25,” joked host Wilson, who toned down her usual bawdy material for the ceremony's early-evening TV broadcast on the BBC.

Denis Villeneuve’s “Dune,” a space epic set on a desert planet, took five trophies from its 11 nominations: visual effects, production design, sound, Greig Fraser's cinematography and Hans Zimmer's score.

"The Power of the Dog,” set in 1920s Montana and starring Benedict Cumberbatch as a ranch owner, was nominated in eight categories and won two big ones: best film and best director. Campion is only the third female winner in that category, but the second in two years after Chloe Zhao for “Nomadland” in 2021.

Cumberbatch lost to Smith, who was named best actor for his performance as the father of Serena and Venus Williams in “King Richard.”

Scanlan was a surprise best-actress winner, beating contenders including Lady Gaga to win for “After Love,” a first feature by Aleem Khan about a woman who makes a life-changing discovery after her husband’s death.

“Some stories have surprise endings don’t they?” said a disbelieving Scanlan.

Scanlan, best known as a star of satirical TV political comedy “The Thick of It,” said the prize would open doors.

“I hope I get a really exciting, chunky short film and also a Bond audition," she said.

Kenneth Branagh’s semi-autobiographical “Belfast,” the story of a childhood overshadowed by Northern Ireland’s violent “Troubles,” was named best British film.

Ariana DeBose was named best supporting actress for her performance as Anita in Steven Spielberg's lavish musical “West Side Story.” The supporting actor prize went to Kotsur for “CODA,” in which he plays the deaf father of a hearing daughter.

“Have you considered maybe a deaf James Bond?” he asked in his speech, delivered in sign language.

Lashana Lynch, who made a splash as a double-0 agent in Bond thriller “No Time To Die,” took the rising star award, the only category chosen by public vote. She thanked "the women of this country who taught me what it is to be in this industry as a dark-skinned woman. I thank you for laying the foundation for people like me.”

“No Time to Die” also won the prize for best editing.

Japanese director Ryusuke Hamaguchi’s Oscar-nominated drama “Drive My Car” was named best film not in English. “Encanto,” the story of a Colombian clan with magical powers, was named best animated feature, and 1960s Harlem music extravaganza “Summer of Soul” won the best documentary prize.

Sian Heder won the adapted screenplay prize for “CODA.” Best original screenplay went to Paul Thomas Anderson for coming-of-age story “Licorice Pizza.”

The British awards are usually held a week or two before the Academy Awards and have become an important awards-season staging post. This year’s Oscars take place March 27.

The British film academy has expanded its voting membership and shaken up its rules in recent years in an attempt to address a glaring lack of diversity in the nominations. In 2020, no women were nominated as best director for a seventh consecutive year, and all 20 nominees in the lead and supporting performer categories were white.

Majumdar said this year's more diverse field showed that "change has come." But the celebration of cinema was subdued, with many attendees reflecting on the war raging on the other side of Europe.

Cumberbatch wore a lapel badge in the blue and yellow of the Ukrainian flag. He said it was to oppose the “megalomaniac” Russian President Vladimir Putin “raining down terror” on Ukraine.

“It’s a very scary and sad time,” he said on the red carpet. “Although this is a gesture, and people can say it’s hollow, it’s just something I can do tonight” — along with pressuring British politicians to take in more refugees from the war.

Jonas Poher Rasmussen, director of animated feature “Flee,” the story of an Afghan refugee, said it was “surreal” to be at an awards show when “the world is burning.”

But he said images of the millions driven from their homes in Ukraine underscored the message that “these stories need to be told.”



JoJo Was a Teen Sensation. At 33, She’s Found Her Voice Again

Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
TT

JoJo Was a Teen Sensation. At 33, She’s Found Her Voice Again

Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)
Singer Joanna Levesque, who rose to fame as “JoJo” when she was 13, poses for a portrait to promote her memoir, “Over the Influence,” on Wednesday, Sept. 18, 2024, in New York. (Invision/AP)

Joanna Levesque shot to stardom at 13. Two decades later, “JoJo” — as she’s better known — has written a memoir and says the song responsible for her meteoric rise, “Leave (Get Out),” was foreign to her. In fact, she cried when her label told her they wanted to make it her first single.

Lyrics about a boy who treated her poorly were not relatable to the sixth grader who recorded the hit. And sonically, the pop sound was far away from the young prodigy's R&B and hip-hop comfort zone.

“I think that’s where the initial seed of confusion was planted within me, where I was like, 'Oh, you should trust other people over yourself because ... look at this. You trusted other people and look how big it paid off,’” she said in a recent interview with The Associated Press.

“Leave (Get Out)” went on to top the Billboard charts, making Levesque the youngest solo artist ever to have a No. 1 hit.

“I grew to love it. But initially, I just didn’t get it,” she said.

Much of Levesque’s experience with young pop stardom was similarly unpredictable or tumultuous, and she details those feelings in her new memoir, “Over the Influence.”

With “Leave (Get Out)” and her several other commercial hits like “Too Little Too Late” and “Baby It’s You,” Levesque’s formative years were spent in recording studios and tour buses. Still, she had a strong resonance with teens and young people, and her raw talent grabbed the attention of music fans of all ages.

“Sometimes, I don’t know what to say when people are like, ‘I grew up with you’ and I’m like, ‘We grew up together’ because I still am just a baby lady. But I feel really grateful to have this longevity and to still be here after all the crazy stuff that was going on,” she said.

Some of that “crazy stuff” Levesque is referring to is a years-long legal battle with her former record label. Blackground Records, which signed her as a 12-year-old, stalled the release of her third album and slowed down the trajectory of her blazing career.

Levesque said she knows, despite the hurdles and roadblocks the label and its executives put in her path, they shaped “what JoJo is."

“Even though there were things that were chaotic and frustrating and scary and not at all what I would have wanted to go through, I take the good and the bad,” she said.

Levesque felt like the executives and team she worked with at the label were family, describing them as her “father figures and my uncles and my brothers." “I love them, now, still, even though it didn’t work out,” she said.

With new music on the way, Levesque said she thinks the industry is headed in a direction that grants artists more freedom over their work and more of a voice in discussions about the direction of their careers. In 2018, she re-recorded her first two albums, which were not made available on streaming, to regain control of the rights. Three years later, Taylor Swift started doing the same.

“Things are changing and it’s crumbling — the old way of doing things,” she said. “I think it’s great. The structure of major labels still offers a lot, but at what cost?”

As she looks forward to the next chapter of her already veteran-level career, Levesque said it’s “refreshing” for her to see a new generation of young women in music who are defying the standards she felt she had to follow when she was coming up.

“'You have to be nice. You have to be acceptable in these ways. You have to play these politics of politeness.’ It’s just exhausting,” she said, “So many of us that grew up with that woven into the fabric of our beliefs burn out and crash and burn.”

It’s “healing” to see artists like Chappell Roan and Billie Eilish play by their own rules, she said.

In writing her memoir and tracing her life from the earliest childhood memories to today, Levesque said she’s “reclaiming ownership” over her life.

“My hope is that other people will read this, in my gross transparency sometimes in this book, and hopefully be inspired to carve their own path, whatever that looks like for them.”