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)
TT

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. 



‘Terrifier 3’ Slashes ‘Joker’ to Take No. 1 at the Box Office, Trump Film ‘The Apprentice’ Fizzles

 This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)
This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)
TT

‘Terrifier 3’ Slashes ‘Joker’ to Take No. 1 at the Box Office, Trump Film ‘The Apprentice’ Fizzles

 This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)
This image released by Cineverse Entertainment shows David Howard Thornton in a scene from "Terrifier 3." (Jesse Korman/Cineverse Entertainment via AP)

The choices on the movie marquee this weekend included Joaquin Phoenix as the Joker, a film about Donald Trump, a “Saturday Night Live” origin story and even Pharrell Williams as a Lego. In the end, all were trounced by an ax-wielding clown.

“Terrifier 3,” a gory, low-budget slasher from the small distributor Cineverse, topped the weekend box office with $18.3 million, according to estimates Sunday. The film, a sequel to 2022’s “Terrifier 2” ($15 million worldwide in ticket sales), brings back the murderous Art the Clown (David Howard Thornton) and lets him loose, under the guise of Santa, at a Christmas party.

That “Terrifier 3” could notably overperform expectations and leapfrog both major studios and awards hopefuls was only possible due to the disaster of “Joker: Folie à Deux.” After Todd Phillips’ “Joker” sequel, starring Phoenix and Lady Gaga, got off to a much-diminished start last weekend (and a “D” CinemaScore from audiences), the Warner Bros. release fell a staggering 81% in its second weekend, bringing in just $7.1 million.

For a superhero film, such a drop has little precedent. Disappointments like “The Marvels,” “The Flash” and “Shazam Fury of the Gods” all managed better second weekends. Such a mass rejection by audiences and critics is particularly unusual for a follow-up to a massive hit like 2019’s “Joker.” That film, also from Phillips and Phoenix, grossed more than $1 billion worldwide against a $60 million budget.

The sequel was pricier, costing about $200 million to make. That means “Joker: Folie à Deux” is headed for certain box-office disaster. Globally, it’s collected $165.3 million in ticket sales.

“This is an outlier of a weekend if ever there was one,” said Paul Dergarabedian, senior media analyst for Comscore. “If you had asked anyone a month ago or even a week ago: Would ‘Terrifier 3’ be the number one movie amongst all these major-studio films and awards contenders? To have a movie like this come along just shows you that the audience is the ultimate arbiter of what wins at the box office.”

The “Joker” slide allowed “The Wild Robot,” the acclaimed Universal Pictures and DreamWorks animated movie, to take second place in its third weekend with $13.4 million. Strong reviews for Chris Sanders’ adaptation of Peter Brown’s book have led the movie, with Lupita Nyong’o voicing the robot protagonist, to $83.7 million domestically and $148 million worldwide.

The young Donald Trump film “The Apprentice,” distributed by Briarcliff Entertainment in 1,740 theaters, opened in a distant 10th place, managing a paltry $1.6 million in ticket sales. While expectations weren’t much higher, audiences still showed little enthusiasm for an election-year origin story of the Republican nominee.

If headlines translated to ticket sales, Ali Abbasi’s film might have done better. “The Apprentice,” starring Sebastian Stan as Trump under the mentorship of Roy Cohn (Jeremy Strong), has been making news since its debut at the Cannes Film Festival, up to its last-minute release just weeks before the election. The Trump campaign has called the movie “election interference by Hollywood elites.”

Abbasi’s film, set in the 1970s and 1980s, tested moviegoer’s appetite for a political film in an election year. Major studios and specialty labels passed on acquiring it in part because of the question of whether a movie about Trump would turn off both liberal and conservative moviegoers, alike. “The Apprentice” will depend on continued awards conversation for Strong and Stan to make a significant mark in theaters before voters turn out at the polls.

Jason Reitman’s “Saturday Night” failed to ignite its nationwide expansion. The film, with an ensemble cast led by Gabriel LaBelle’s Lorne Michaels, collected $3.4 million from 2,288 locations. The Sony Pictures release, about the backstage drama as the NBC sketch comedy show is about to air for the first time in 1975, will likely need to make more of an impact with audiences to carry it through awards season.

“Piece by Piece,” a Pharrell Williams documentary-biopic hybrid animated in Lego form, had also been hoping to click better with moviegoers. The acclaimed Focus Features release, directed by veteran documentarian Morgan Neville (“20 Feet From Stardom,” “Won’t You Be My Neighbor?”), opened with $3.8 million from 1,865 theaters.

But the debut for “Piece By Piece,” while low for a Lego animated movie, was very high for a documentary. “Piece By Piece,” which had the weekend’s best CinemaScore, an “A” from audiences, could play well for weeks to come. The film, which was modestly budgeted at $16 million, is also likely to end up the year’s highest grossing doc — if “Piece By Piece” can be called that.

“We Live in Time,” the weepy drama starring Florence Pugh and Andrew Garfield, had one of the year’s best per-theater averages in its five-screen opening. The A24 release, which will expand nationwide next weekend, debuted with $255,911 and a $51,000 per-screen average.

Outside of the success of Warner Bros.’ “Beetlejuice Beetlejuice” (which pulled in $7.1 million in its six weekends of release despite recently launching on video-on-demand), Hollywood’s fall has struggled to get going. Low-budget horror, like “Terrifier 3,” continues to be one good bet in theaters, but this autumn has been mostly characterized by bombs like “Joker: Folie à Deux” and “Megalopolis.”

This time last year, Taylor Swift was giving the box office a massive lift with “The Eras Tour.” This weekend compared with the same time last year was down 45% according to Comscore.