Maria Bakalova Wants to Make You Feel Something

Maria Bakalova attends a press line for Marvel Studios on day three of Comic-Con International on July 23, 2022, in San Diego. (AP)
Maria Bakalova attends a press line for Marvel Studios on day three of Comic-Con International on July 23, 2022, in San Diego. (AP)
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Maria Bakalova Wants to Make You Feel Something

Maria Bakalova attends a press line for Marvel Studios on day three of Comic-Con International on July 23, 2022, in San Diego. (AP)
Maria Bakalova attends a press line for Marvel Studios on day three of Comic-Con International on July 23, 2022, in San Diego. (AP)

When it comes to acting, Maria Bakalova considers herself to be a person of extremes.  

“Cinema is supposed to be provoking. It’s not supposed to be, I think, something that is somewhere in the middle,” the Oscar-nominated actor said in a recent interview with The Associated Press.  

If a movie doesn’t make you feel something, she said, “what was really the point?”  

Bakalova both stars in her latest project, “The Honeymoon,” and worked as a producer, something she said she hopes to do more of in the future. 

“The more I grow up, the more I want to spend time behind the camera,” she said, citing a need for more women to direct and write.  

“The Honeymoon,” now available to rent on streaming, is a comedy replete with extremes.  

The drug-and-toilet-humor-filled comedy may seem like a long way off from her initial dream of acting in the kinds of films made in the avant-garde Dogme 95 movement, led by Lars von Trier and Thomas Vinterberg. The Bulgarian actress was so captivated by Danish cinema that she convinced her parents to take her to Copenhagen in an effort to get whatever job she could at von Trier’s production company. 

But she realized different genres can achieve similar ends after her breakout role in “Borat Subsequent Moviefilm,” a project she praised for its ability to effect change.  

“It’s a social experiment that can show people’s true colors. And at the end of the day, that should be the most important part because art can influence people,” she said.  

Although her role in “Borat” opened her up to the potential and importance of a variety of genres, Bakalova said she still believes actors should be discerning about what parts they accept. 

“Don’t be too picky,” she cautioned, but said actors have a responsibility to select roles that are “worthy of your attention and people’s attention because you’re not doing this art just for yourself.” She believes the secret to longevity in Hollywood is to never settle into one genre or character. 

When she thinks back on her time making “Borat,” Bakalova said the infamous hotel room scene with Rudy Giuliani felt like the most precarious of Sacha Baron Cohen’s antics, calling it a “scary situation.” 

“I absolutely had no way to communicate with Sacha,” she recalled. “I didn’t know what was going to happen.” 

Bakalova, who had never acted in an English-language film prior to “Borat,” had a busy year in 2022. In addition to “The Honeymoon,” she starred in “Bodies Bodies Bodies” and Judd Apatow’s “The Bubble.” She will make her Marvel debut in 2023 with “Guardians of the Galaxy Vol. 3.” 

Aside from acting, one of Bakalova’s goals at some point is to meet fellow flutist Lizzo.  

“If I just ever have a chance to be next to her, at least look at her, that’s going to be the best day of my life,” she said. 



‘Dirty Dancing,’ ‘Beverly Hills Cop,’ ‘Up in Smoke’ among Movies Entering the National Film Registry

 This image released by the Library of Congress shows James Cagney, right, in a scene from the 1938 film "Angels with Dirty Faces." (Warner Bros/Discovery/Library of Congress via AP)
This image released by the Library of Congress shows James Cagney, right, in a scene from the 1938 film "Angels with Dirty Faces." (Warner Bros/Discovery/Library of Congress via AP)
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‘Dirty Dancing,’ ‘Beverly Hills Cop,’ ‘Up in Smoke’ among Movies Entering the National Film Registry

 This image released by the Library of Congress shows James Cagney, right, in a scene from the 1938 film "Angels with Dirty Faces." (Warner Bros/Discovery/Library of Congress via AP)
This image released by the Library of Congress shows James Cagney, right, in a scene from the 1938 film "Angels with Dirty Faces." (Warner Bros/Discovery/Library of Congress via AP)

Nobody puts baby in a corner, but they're putting her in the National Film Registry.

“Dirty Dancing,” along with another 1980s culture-changer, “Beverly Hills Cop,” are entering the Library of Congress' registry, part of an annual group of 25 announced Wednesday that spans 115 years of filmmaking.

“Dirty Dancing” from 1987 used the physicality and chemistry of Patrick Swayze as Johnny Castle and Jennifer Grey as Frances “Baby” Houseman to charm generations of moviegoers, while also taking on issues like abortion, classism and antisemitism. In the climactic moment, Swayze defiantly declares, “Nobody puts baby in a corner” before taking Grey to dance to “(I’ve Had) The Time of My Life.”

1984's “Beverly Hills Cop,” the first Eddie Murphy film in the registry, arguably made him the world's biggest movie star at the time and made action comedies a blockbuster staple for a decade.

Since 1988, the Librarian of Congress has annually selected movies for preservation that are “culturally, historically or aesthetically” significant. The current picks bring the registry to 900 films. Turner Classic Movies will host a TV special on Wednesday, screening a selection of the class of 2024.

The oldest film is from 1895 and brought its own form of dirty dancing: “Annabelle Serpentine Dance” is a minute-long short of a shimmying Annabelle Moore that was decried by many as a public indecency for the suggestiveness of her moves. The newest is David Fincher's “The Social Network" from 2010.

A look at some of the films entering the registry “Pride of the Yankees” (1942): The film became the model for the modern sports tear-jerker, with Gary Cooper playing Lou Gehrig and delivering the classic real-life line: “Today I consider myself the luckiest man on the face of the Earth.”

“The Miracle Worker” (1962): Anne Bancroft won an Oscar for best actress for playing title character Anne Sullivan and 16-year-old Patty Duke won best supporting actress for playing her deaf and blind protege Helen Keller in director Arthur Penn's film.

“Up in Smoke” (1978): The first feature to star the duo of Cheech Marin and Tommy Chong established a template for the stoner genre and brought weed culture to the mainstream. Marin, who also appears in the inductee “Spy Kids” from 2001, is one of many Latinos with prominent roles in this year's crop of films.

“Star Trek II: Wrath of Khan” (1982): The second movie in the “Star Trek” franchise featured one of filmdom's great villains in Ricardo Montalban's Khan, and showed that the world of Captain Kirk and Mr. Spock could bring vital thrills to the cinema.

“Common Threads: Stories from the Quilt” (1989): The Oscar-winning documentary on the NAMES Project Aids Memorial Quilt was a landmark telling of the devastation wrought by the disease.

“My Own Private Idaho” (1991): Director Gus Van Sant's film featured perhaps the greatest performance of River Phoenix, a year before the actor's death at age 23.

“American Me” (1992): Edward James Olmos starred and made his film directorial debut in this tale of Chicano gang life in Los Angeles and the brutal prison experience of its main character.

“No Country for Old Men” (2007): Joel and Ethan Coen broke through at the Oscars with their adaptation of Cormac McCarthy's novel, winning best picture, best director and best adapted screenplay, while Javier Bardem won best supporting actor for playing a relentless killer with an unforgettable haircut.