Kevin Spacey: Antihero of Screen and Stage, #MeToo Outcast

US actor Kevin Spacey built a formidable career that resulted in two Oscars -- but it all came crashing down amid allegations of sexual assault. Yuki IWAMURA / AFP/File
US actor Kevin Spacey built a formidable career that resulted in two Oscars -- but it all came crashing down amid allegations of sexual assault. Yuki IWAMURA / AFP/File
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Kevin Spacey: Antihero of Screen and Stage, #MeToo Outcast

US actor Kevin Spacey built a formidable career that resulted in two Oscars -- but it all came crashing down amid allegations of sexual assault. Yuki IWAMURA / AFP/File
US actor Kevin Spacey built a formidable career that resulted in two Oscars -- but it all came crashing down amid allegations of sexual assault. Yuki IWAMURA / AFP/File

Kevin Spacey built a formidable acting career playing dangerous, darkly charismatic antiheroes in hits from "The Usual Suspects" to "House of Cards" -- before disturbing allegations about his personal life brought it crashing down.

The two-time Oscar winner with a piercing, hypnotic charm first honed his craft on the stage, before going on to score major box office hits as a middle-aged father lusting after a teen in "American Beauty," a serial killer in "Se7en" and the villain in "Superman Returns."

But the 63-year-old Spacey has barely been seen except at courthouses since 2017, when he was among the first stars caught up in the global #MeToo reckoning, accused of sexual assault by multiple young men. He denies the claims, AFP said.

Born in New Jersey in 1959, Kevin Spacey Fowler grew up in California, where he briefly attended, and was kicked out of, military school.

Spacey has recently spoken in court about a troubled childhood, with a father he described as a "white supremacist" and a "neo-Nazi," who disliked gay people and did not appreciate his son's interest in theater.

Nevertheless, in 1979, a young Spacey entered New York's elite Juilliard performing arts school.

Spacey's biggest early stage success came opposite Jack Lemmon in a 1986 production of "Long Day's Journey Into Night."

His first film role was a tiny part as a subway thief that same year in "Heartburn" for Mike Nichols, the director Spacey had earlier worked for as an understudy in a Broadway play. The duo reunited for 1988 hit movie "Working Girl."

Spacey also ventured into television and won breakthrough acclaim as a paranoid, psychotic and incestuous young crime boss in "Wiseguy."

That set the tone for a string of pitch-black Hollywood hits culminating in 1995, when Spacey memorably appeared as a fanatical serial killer in David Fincher's "Se7en," and played a mysterious gangster in "The Usual Suspects" -- a role that earned him his first Oscar for best supporting actor.

The mid-1990s also saw Spacey play a monstrous Hollywood executive in "Swimming with Sharks" and an ambitious, malevolent prosecutor in "A Time To Kill."

Spacey's crowning big-screen success came with 1999's "American Beauty," in which he played a sexually frustrated father trying to escape suburban drudgery who becomes obsessed with his teenage daughter's friend.

He won his second Oscar -- this time for best actor -- as the movie racked up five Academy Awards, including best picture.

- From the Old Vic to Netflix -
In subsequent years, Spacey briefly pivoted toward gentler movie roles, including a romantic lead in "Pay It Forward" with Helen Hunt, and oddball sci-fi mystery "K-PAX." The results were mixed.

Meanwhile Spacey, who had continued to win accolades for stage performances in such plays as "Lost in Yonkers" and "The Iceman Cometh," announced in 2003 he was to take over as artistic director of London's Old Vic.

Spacey's decade-long tenure at the historic theater would be widely acclaimed.

He starred in and lured A-list actors and directors to diverse and daring productions, reveling in playing Shakespeare's "Richard III" and staging American classics by Eugene O'Neill, Arthur Miller and Tennessee Williams.

During that period, he also struck big-screen gold again as the nefarious Lex Luthor in "Superman Returns."

In 2013, Spacey helped launch Hollywood's streaming revolution, taking the lead role in Netflix's first-ever major exclusive series "House of Cards," as a ruthless US congressman who will stop at nothing to become president.

The series became a cultural phenomenon. It was the first online-only series to be nominated for, and win, an Emmy, and ushered in the binge-watching era.

- #MeToo -
But Spacey's empire rapidly began to unravel in October 2017.

Barely three weeks after #MeToo allegations broke against Harvey Weinstein, Spacey too was hit with sexual assault claims.

Actor Anthony Rapp was the first to go public, alleging he had been assaulted as a 14-year-old at a New York party by Spacey in 1986.

Spacey swiftly apologized, but drew criticism for appearing to try to deflect the story by finally confirming that he is gay -- an open secret in Hollywood for years.

Within a month, Spacey had been accused of assault by multiple men in the US and Britain, dropped by Netflix, and stunningly removed at the last minute from the film "All the Money in the World."

Director Ridley Scott and studio Sony Pictures rushed to reshoot Spacey's scenes in just two months before the film's release.

Since then, Spacey has rarely been seen in public, with the exception of court appearances, where he has denied all allegations of sexual abuse.

In 2019, assault charges against the actor were dropped in Massachusetts. In October, a New York court dismissed Rapp's $40 million sexual misconduct lawsuit.

Spacey has pleaded not guilty to further sexual assault charges in Britain, where he is due to appear in a London courtroom on Friday.



China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
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China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)

Chinese director Jia Zhangke's ambitious latest, which utilizes footage shot across two decades, offered a peek into the evolving nature of cinema as it unspooled at this year's Busan International Film Festival.

"Caught by the Tides" combines a story of elusive love with a panoramic portrayal of recent Chinese history using everything from low-resolution digital camera footage to a scene enhanced with cutting-edge AI technology.

And while it explores the meaning of the past, the film's creation emphasized innovation.

Jia assembled and recontextualized footage shot over more than 20 years, including unused scenes from previous films, newly filmed sequences, and random images he captured during his travels -- blending documentary and fiction.

The result, with a format reminiscent of Richard Linklater's 2014 film "Boyhood", creates a vivid record of time passing, particularly through lead actress Zhao Tao, Jia's long-time collaborator and wife in real life.

As she goes on a fruitless search for a lost love, audiences witness her age before their eyes.

The film also uses images related to key events that have shaped contemporary China, such as the successful bid for the 2008 Olympics and the construction of the Three Gorges Dam, which resulted in often overlooked suffering for those displaced by the project.

"After Covid, I felt that one era had ended and a new one was emerging," Jia told reporters in Busan when asked what motivated him to create "Caught by the Tides".

"With the rapid advancements in technology, including science, the Internet, and AI, people's lifestyles have also shifted. I realized that during this period of change, it was important to process the (accumulated) footage I had previously filmed."

Actress Zhao described the film as a "truly precious gift."

"It has allowed me to document my 20s, 30s, and 40s through the medium of film, while also expressing the lives and struggles of many women through the character," she told reporters.

The film played over the weekend as part of BIFF's gala presentation section.

- Covid, cinema and AI -

Jia's feature debut, "Xiao Wu", earned the director BIFF's New Current Award for emerging filmmakers in 1998, when he was just 28.

"It's not an exaggeration to say that my life as a filmmaker started in Busan," Jia said, adding he had missed the South Korean port city since his last visit.

He has since won the top prize at the Venice Film Festival for "Still Life" (2006), among other prestigious awards, establishing himself as one of the most important Chinese filmmakers of his generation.

"Jia stood out as someone who is obviously talented. He was, above all else, original," Kim Dong-ho, the 87-year-old BIFF founder, told AFP of the Chinese filmmaker's younger years.

Now 54, Jia has brought his latest film to Busan at a pivotal moment of change for the festival.

BIFF's opening night featured a streaming title for the first time in its history, and it hosted a day-long conference just on the theme of AI in content production.

At the festival's main venue, giant posters of Netflix's latest streaming projects underlined the shift -- including its opening film "Uprising," positioned next to a festival gift store that ironically proclaimed: "Theater is Not Dead."

Jia's film, by its end, reflects and evokes these changes and what may lie ahead, showing its characters queuing for PCR tests and wearing masks during the Covid pandemic, an era that contributed to the rise of streaming platforms worldwide.

One scene was modified using AI technology, changing the film that the protagonist watches to create a stronger link to an element introduced later in the story -- robots.

When reflecting on his some 26 years in film, Jia said: "It feels like I've been drifting in an endless ocean."

But "completing each film made me feel like I stood tall, having overcome the waves."