Ryuichi Sakamoto, Japanese Musician and Film Composer, Dies

Maestro Ryuichi Sakamoto poses during a photo call for the film "Coda" at the 74th Venice Film Festival in Venice, Italy, Sept. 3, 2017. (AP)
Maestro Ryuichi Sakamoto poses during a photo call for the film "Coda" at the 74th Venice Film Festival in Venice, Italy, Sept. 3, 2017. (AP)
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Ryuichi Sakamoto, Japanese Musician and Film Composer, Dies

Maestro Ryuichi Sakamoto poses during a photo call for the film "Coda" at the 74th Venice Film Festival in Venice, Italy, Sept. 3, 2017. (AP)
Maestro Ryuichi Sakamoto poses during a photo call for the film "Coda" at the 74th Venice Film Festival in Venice, Italy, Sept. 3, 2017. (AP)

Ryuichi Sakamoto, a world-renowned Japanese musician and actor who composed for Hollywood hits such as “The Last Emperor” and “The Revenant,” has died. He was 71.

Japan’s recording company Avex said in a statement Sunday that Sakamoto died on March 28 while undergoing treatment for cancer.

He was first diagnosed with throat cancer in 2014. In 2022, he revealed that he had terminal cancer, a year after he disclosed suffering from rectal cancer.

Sakamoto was a pioneer of the electronics music of the late 1970s and founded the Yellow Magic Orchestra, also known as YMO, with Haruomi Hosono and Yukihiro Takahashi.

Takahashi died in January.

Despite his battle with cancer, Sakamoto released a full-length album “12” on his 71st birthday in January, stating that composing had a “small healing effect on my damaged body and soul,” according to the official statement released with the latest album.

He was a world-class musician, winning an Oscar and Grammy for the 1987 movie “The Last Emperor.”

Sakamoto was also an actor, starring in the BAFTA-winning 1983 film “Merry Christmas, Mr. Lawrence.”

He was mostly based in New York in recent years, though he regularly visited Japan.

Born in Tokyo in 1952, Sakamoto started studying music at the age of 10 and was influenced by Debussy and the Beatles.

The statement from Avex said that despite his sickness, when he was feeling relatively well, he kept working on his music in his home studio. “To his final days, he lived with music,” it said.

The statement expressed gratitude to the doctors who had treated him in the US and Japan, as well as to all his fans around the world. It referenced the words Sakamoto loved: “Ars longa, vita brevis,” which refers to the longevity of art, no matter how short human life might be.

Sakamoto also left his mark as a pacifist and environmental activist. He spoke out against nuclear power following the March 2011 Fukushima nuclear plant meltdowns caused by an earthquake and tsunami.

He took part in rallies and made speeches in Tokyo, and was among a group of respected Japanese artists, like the Nobel-winning novelist Kenzaburo Oe, who were not afraid to take an unpopular stand on political issues.

In a July 2012 rally, he got up on stage and read from notes on an iPhone, warning Japan not to risk people’s lives for electricity.

“Life is more important than money,” he said in Japanese, then added in English, “Keeping silent after Fukushima is barbaric.”

He also appeared in advertising for Nissan electric cars, although he acknowledged he got a bashing for being so commercial. At his home in New York, he gets electricity from a company that relies on renewables, he said.

“How we make electricity is going to diversify, with fossil fuel and nuclear power declining,” Sakamoto told The Associated Press in an interview in 2012. “People should be able to choose the kind of electricity they want to use.”

Funeral services have been held with family and close friends, the Avex statement said.

Sakamoto is survived by his daughter Miu Sakamoto, a musician. She posted on her Instagram the years her father had lived — from Jan. 17, 1952, to March 28, 2023 — and a photo of a worn out, half-broken piano. He was separated from his former wife, singer and composer Akiko Yano.



Jesse Eisenberg, Julianne Moore Bring Curtain Down on London Film Festival with ‘The Debut’

US actors Jesse Eisenberg (L) and Julianne Moore (R) attend the premiere of "The Debut" and the closing night of the BFI London Film Festival 2026 in London, Britain, 18 October 2026. (EPA)
US actors Jesse Eisenberg (L) and Julianne Moore (R) attend the premiere of "The Debut" and the closing night of the BFI London Film Festival 2026 in London, Britain, 18 October 2026. (EPA)
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Jesse Eisenberg, Julianne Moore Bring Curtain Down on London Film Festival with ‘The Debut’

US actors Jesse Eisenberg (L) and Julianne Moore (R) attend the premiere of "The Debut" and the closing night of the BFI London Film Festival 2026 in London, Britain, 18 October 2026. (EPA)
US actors Jesse Eisenberg (L) and Julianne Moore (R) attend the premiere of "The Debut" and the closing night of the BFI London Film Festival 2026 in London, Britain, 18 October 2026. (EPA)

Actor-filmmaker Jesse Eisenberg said he wrote the lead role in his musical comedy "The Debut" with Julianne Moore in mind, praising the Oscar-winning star as "the greatest actress in the world" as the film closed the London Film Festival on Sunday.

"I just thought, this is Julianne Moore, and I will write every scene with her in mind and what she likes to do and what she's great at," Eisenberg, who wrote the screenplay and directed the film, told Reuters on the red carpet.

Moore stars as Mona, a shy New Jersey housewife who is thrilled ‌to land a ‌role in a community theater musical.

Drawn to the experience ‌by ⁠a longing for ⁠something missing in her life, Mona finds purpose and community through the show.

"She's moving towards something, knowing that there's something that she needs in her life," Moore said. "Then that thing leads you towards yourself and towards community, which is really the most valuable thing of all."

The film, which marks Eisenberg's latest directing effort following his BAFTA-winning screenplay for "A Real Pain", features seven original songs written by the filmmaker. The numbers appear in the fictional stage ⁠production "Nosy Neighbors", a deliberately light-hearted, 1990s-inspired musical performed by a cast ‌including "The Little Mermaid" star Halle Bailey.

"I love songwriting, I ‌love musical theater music and I wrote these songs in earnest," Eisenberg said.

Mona's early struggles ‌on stage test the patience of director Jerry, played by "The Holdovers" star Paul Giamatti, prompting ‌her to adopt an increasingly committed method acting approach.

Eisenberg said Moore's interpretation of Mona allowed him to make a "weird movie" that still felt grounded.

"She is so unusual, she's so strange," he said. "It allowed me to make a movie that wasn't realistic."

While Mona takes method acting to ‌extremes, the "Now You See Me" star said all actors, including himself, draw on some version of the technique.

"I always wind up ⁠feeling whatever the ⁠character feels," he said. "So if my character is miserable, I spend the shoot just miserable. But I don't realize it's for the character. I just think, 'Oh God, I must be doing terribly in the movie'."

Eisenberg, who plays a minor role in "The Debut", said the story was inspired by his own childhood experiences in community theater, where he discovered "a family and a home and a life" he liked.

Patrick Fabian, who plays Mona's husband in the film, said theater offers something increasingly rare: a chance for people to connect in person with one another.

"It brings people together, and these days, it gets them out of their screens and into the dark together to watch whatever is going on," Fabian said. "I think that's a real bonding thing."

"The Debut" brought the curtain down on the 70th London Film Festival, where Ukrainian filmmaker Sergei Loznitsa's "Imperium" won Best Film in the Official Competition.


Box Office: Elizabeth Holmes Movie ‘You Can See Everything’ Is Now a Hit in Theaters Too

“You Can See Everything” made an extraordinary $15 million from only 855 screens, with over 2,000 sellout showings over the weekend, according to A24. (A24)
“You Can See Everything” made an extraordinary $15 million from only 855 screens, with over 2,000 sellout showings over the weekend, according to A24. (A24)
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Box Office: Elizabeth Holmes Movie ‘You Can See Everything’ Is Now a Hit in Theaters Too

“You Can See Everything” made an extraordinary $15 million from only 855 screens, with over 2,000 sellout showings over the weekend, according to A24. (A24)
“You Can See Everything” made an extraordinary $15 million from only 855 screens, with over 2,000 sellout showings over the weekend, according to A24. (A24)

North American movie theaters were flooded with new films this weekend, including a video game reboot, a big budget survival thriller and a Jane Austen adaptation.

While Paramount’s “Street Fighter” took the first-place spot, earning $31 million from 3,575 theaters according to studio estimates on Sunday, most of the attention and cultural discourse was elsewhere: On the nearly three-hour Elizabeth Holmes documentary, “You Can See Everything.”

Buzz and box office don’t always line up, but “You Can See Everything” made an extraordinary $15 million from only 855 screens, with over 2,000 sellout showings over the weekend, according to A24. It also had the biggest opening for a film playing on under 1,000 screens since “Borat” opened to $26.5 million in 2006, and the biggest non-music documentary opening in two decades, since “Fahrenheit 9/11” made nearly $24 million from 868 theaters. Those numbers do not account for inflation.

Like other hits this year, like the Gen-Z driven “Backrooms” and “Obsession,” ticket sales for “You Can See Everything” were driven by a largely younger audience. Over 70% of the opening weekend crowd was under 35.

The film, directed by Nathan Fielder and Lance Oppenheim, was made in secret over three years. Fielder spent over a month with the disgraced Theranos founder and her family, including two young children and partner Billy Evans, in her final days before reporting to federal prison. The reviews have been extremely positive, with 99% on Rotten Tomatoes and 99 on Metacritic. It also got an unprecedented 91% “definite recommend” from audiences, according to PostTrak exit polls.

“You Can See Everything” reportedly cost under $7 million to make and less than $10 million to market.

“Everybody underestimated the movie, because on paper this is like, wait, a three-hour documentary?” said Paul Dergarabedian, the head of marketplace trends for Rentrak. “But he (Fielder) is a huge draw, and he has a huge following on social media, and then Elizabeth Holmes is just a character that you couldn’t even make up. It’s stranger than fiction, and that’s really compelling.”

‘Street Fighter’ knocks out ‘Whalefall’

“Street Fighter” topped the charts as expected with a $51 million global opening, including $20 million from international showings. The movie starring Callina Liang, Noah Centineo and Andrew Koji cost a reported $82 million to make, not accounting for marketing and promotion. Audiences were 69% male.

Both “Street Fighter” and “You Can See Everything” may have contributed to “Whalefall’s” relative failure this weekend. The $60 million survival thriller starring Austin Abrams and Josh Brolin made $8 million from 3,065 locations in the US and Canada, despite being better reviewed than “Street Fighter.” With $9.5 million from international showings, the Disney release had a $17.5 million global launch.

“Whalefall” opened in fourth place, behind the Jessica Chastain horror “Other Mommy.” The Universal Pictures release added $8.4 million in its second weekend, bringing its domestic total to $44.9 million.

Fifth place went to “Sense and Sensibility,” which earned an estimated $7.3 million from 2,545 theaters. The well-reviewed Austen adaptation starring Daisy Edgar-Jones drew a predominantly younger (58% between the ages of 14 and 18) and female crowd (84%). It also got the strongest CinemaScore of the week (A-).

Warner Bros. Clockwork also released a restored presentation of Ken Russell’s 1971 film “The Devils” in 350 locations, where it made $1.6 million. It’s the first release from the studio’s specialty label.

‘Musk’ documentary facing advertising blocks

Alex Gibney's Elon Musk documentary “Musk” also expanded to 472 screens in the US and Canada, where it made $306,702. The film, which runs nearly four hours, has faced issues advertising on major social media platforms including X, which Musk owns, and TikTok, according to distributor Bleecker Street, who said TikTok this weekend permanently suspended the film’s ad account.

According to Rentrak, the weekend overall generated about $101.6 million in ticket sales, up 45% from the same weekend last year. The year to date stands at $8.2 billion, which is up almost 20% from 2025.


‘Tenzing’ Makes Sure We Know Who the Real Heroes of Everest Are

Genden Phuntsok and Tom Hiddleston in ‘Tenzing’ (Apple TV)
Genden Phuntsok and Tom Hiddleston in ‘Tenzing’ (Apple TV)
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‘Tenzing’ Makes Sure We Know Who the Real Heroes of Everest Are

Genden Phuntsok and Tom Hiddleston in ‘Tenzing’ (Apple TV)
Genden Phuntsok and Tom Hiddleston in ‘Tenzing’ (Apple TV)

New York: Jeanette Catsoulis

Stately and occasionally stirring, Jennifer Peedom’s movie “Tenzing” has an old-fashioned earnestness that’s gently disarming.

The film’s real-life subject is Tenzing Norgay (Genden Phuntsok), the Nepali-Indian mountaineer who, alongside Sir Edmund Hillary (Tom Hiddleston), became the first person reported to reach the summit of Mount Everest in 1953.

Neither a straight-up biopic nor a flat-out adventure yarn (its tone is too buttoned-up and British for that), “Tenzing” is instead a dramatic portrait of one man’s intense, all-consuming longing.

As a child in 1924 on the Tibetan Plateau, Tenzing watches, rapt, as the “men from away places” prepare to climb the mountain he knows only by its Tibetan name, Chomolungma.
One of those men is the English mountaineer George Mallory (Johnny Flynn), who would die on that ascent and whose brief exchange with Tenzing ignites a dream that swiftly becomes an obsession.

Almost three decades later, that drive will secure Tenzing, now an experienced climber, a spot as head Sherpa on Hillary’s expedition.

This places him in an awkward limbo: Neither a member of the British climbing team nor an ethnic Sherpa, he is viewed as an outsider by both groups.

His intelligence and preternatural climbing ability win him a promotion and respect; but Peedom, throughout her first narrative feature (after several mountain-climbing documentaries), remains keenly aware of the expedition’s class boundaries and not-so-subtle racism.

Shot in Nepal and New Zealand, “Tenzing” brings a chilly majesty to Everest’s treacherous slopes, with Stefan Duscio’s camera confirming Tenzing’s belief in the mountain’s mystical power. But a screenplay (by Luke Davies) that over-relies on confusing flashbacks and insists too often on Tenzing’s spiritual connection to Everest can cause other characters to fade to near-irrelevance. (Hillary, a polite New Zealander, is so reserved I forgot at times he was even there.) Harder to overlook is Willem Dafoe’s Colonel Hunt, the expedition leader and a man who clearly bathes in starch.

Whatever your feelings about Everest’s current ruination, there is no doubt that Tenzing — who, with Hillary, pioneered the mountain’s popular Southeast Ridge route, the site of an infamous 2014 disaster— deserves this spotlight.

And if it’s somewhat sentimental beam colors him as a little too saintly, Phuntsok’s performance is so modest and joyful that it’s difficult to mind. Whether trudging through a monsoon or hauling a grateful Hillary out of a nasty crevasse, this is a man who’s living his best life.

In any event, the film’s more worshipful tendencies are easily mitigated by its classical beauty and what can only be called its dignified — and occasionally breathtaking — handling of danger.

Tenzing may be on a spiritual quest, but the Sherpas harbor no illusions about their position or their militaristic overlords. Savvy and tart-tongued, they understand perfectly that their skills and discomfort are serving inflated foreign egos, men who “get to pretend they are heroes.”

“Tenzing,” in its quietly empathetic way, makes sure we know who the real heroes are.

The New York Times