Jade Bahr

^Just when I stumbled about this 😭

Just something striking my mind: Kristen was his first love (or at least the first woman he was probably more serious about) and she left him I think around 2000 (most sources say 97/98 but that's definitely not true because she was with him in Thailand while The Beach was shot). After they split she said he was immature and had to grow up (something what's coming up til today about Leo and his relationships or why they ended). So all this happened around the Leo mania - a time where he had barely control about most people/womens crazy reaction about him and his whole life changed forever very drastically and not necessarily by his own choice. Maybe I'm all wrong but we all know this time had an massive impact upon him not only as actor and celebrity but person again til today. And it all happened when he was himself around 25 no? Maybe all of this is deep down kinda connected in him. Maybe it's not even about the women, but him. Or maybe I see just ghosts from the past and stop this now lol 👻

^He broke up with Kristen Zang for good when she was around 25 too. Just saying People tend to forget her.

Dancing with Lukas at the game: https://www.instagram.com/tv/CZZUQsQqEj_/ Kevin and Nikki were also there:

Just another Leo referrence in the 2nd season of Euphoria: Titanic (1997) x Euphoria [S2 EP4] Source Love the Ghost one too Source

Which one you referring to? just curious

Riiiight, that was a bonker one too. Personally I also liked the one in Titanic. Probably because it's the only time Jack loosing his shit. Just posting because it's beautiful and it's hardly the only gif I have from this freak out.

Favorite freak out? It's actually hard to rank. 1. RR 2. DLU 3. Django 4. Gatsby Runner up 5. The Basketball Diaries ... I think 🤔

Was her identity ever solved? Anyway her name is Caitlin Keats and she's -shocking- OLDER than Leo!!!!!!!!!!!!!!!! Just pointing out for no special reason lol

New pic from yesterday (basically the same Barbie posted in the clip). Jessica Alba and Leonardo DiCaprio were among the A-listers watching the Los Angeles Rams take on the San Francisco 49ers at Sunday's star-studded NFC championship game. Meanwhile DiCaprio, a Los Angeles native, was spotted chatting with a male friend during the game. The 47-year-old actor sported a relaxed look for the event, rocking a baseball hat and a dark jacket on top of a grey t-shirt. The Titanic star kept safe with a blue face mask to protect him from COVID-19. Source Some nice reactions lol

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Just some lovely words from Lea Seydoux. Love the 3rd pic “The death of Gaspard is the loss of a national treasure, he gave off a crazy light. He had a constant gentleness and regard, he was open to the world, he was interested in people. He had this singular charm of combining beauty with talent and he had his own way of being there while always being a little elsewhere. This alliance was irresistible.” - Léa Seydoux in Libération Source

Don’t Look Up narrowly misses becoming Netflix’s all-time-best film debut Don’t Look Up is Netflix’s second most popular film debut to date, coming in around 4 million viewing hours short of Netflix’s crown jewel Red Notice. The new film racked up nearly 360 million hours of viewing during its first 28 days on the service, per Netflix’s Top 10 portal for tracking its most successful titles. Red Notice, meanwhile, tallied 364 million hours during its first four weeks on Netflix, while Bird Box holds third place with 282 million hours viewed. While it narrowly missed its opportunity to overthrow Netflix’s biggest film success to date — it looked like it still had a chance last week — Don’t Look Up is still a monumental win for the streamer. It’s the second major film release in a matter of months to topple previously held records for hours viewed. Prior to Red Notice coming out in November, the top record had been held for years by Bird Box, which debuted back in 2018. Some of that viewing boost can be attributed to Netflix’s massive subscriber base now versus when Bird Box premiered (the number has grown substantially in that time to well over 200 million paid accounts). But the back-to-back hits, taken together with the success of wildly popular titles like Squid Game, The Witcher (season 2), and You (season 3) — all of which hold spots on Netflix’s top 10 leaderboards — indicate Netflix knows exactly what it’s doing. Adam McKay’s Don’t Look Up, which debuted on Netflix on December 24th, satirizes the politicization of the climate crisis and centers on a fictional comet hurtling through space on a direct path to Earth. Two scientists, played by Jennifer Lawrence and Leonardo DiCaprio, alert the US government — a clown town operation being helmed by a ridiculous president and her son, played by Meryl Streep and Jonah Hill — about the urgency of an event that could result in mass extinction but are repeatedly disregarded. Speaking with The Atlantic about tackling the topic, McKay emphasized wanting to use comedy to address such an urgently important issue. “The most exciting idea for me was, it’s funny,” he told the publication. “You realize we’re living in a culture that’s more like a time-share sales pitch than a real system of communication. [As a Hollywood director] I’m right in the middle of it, and part of this movie is generated from me laughing at myself as much as anything.” But the film was a near-guaranteed hit from the jump. It was written by a brilliant comedic director, stars a stacked group of A-list actors, premiered over the holiday break, and manages to punctuate a catastrophic event with absurdist humor and exceptional improvisation. In other words, as Lawrence noted in an interview about reading the script, it was an “absolute slam-dunk” before it even began filming. While Don’t Look Up enjoyed a marginally better critical response (55 percent versus Red Notice’s 37 percent Tomatometer scores), Red Notice performed much better with audiences and had a 92 percent Rotten Tomatoes audience score as of this writing. Even still, releasing two record-breaking original films, Red Notice and Don’t Look Up, in less than two months’ time is a massive success for the streamer. One or two hits could be a fluke, sure. But hit premiere after hit premiere is more indicative of a successful content strategy rather than merely throwing spaghetti against the wall to see if it sticks. Source

Leo and Melanie Lynskey finally swooning over each other and I love it 😍 (that's why I colored their parts blue) The nuts part is killing me How Don’t Look Up Assembled Its Insanely Starry Cast Leonardo DiCaprio and co. speak with Awards Insider about making one of the most A-list movies ever. Before the world knew that two of the biggest movie stars in the world would be toplining Netflix’s Don’t Look Up, one less-well-known actor had already gone through the script and was preparing to bring his character to life. “I saw with everybody else that Jennifer Lawrence came on board,” recalls Rob Morgan, who plays Dr. Teddy Oglethorpe in Adam McKay’s polemical tragi-satire. “Next thing you know, Leo comes on board. And when Leo comes on board, the domino chips start falling down. Everybody came on.” “Everybody” isn’t much of an exaggeration. Don’t Look Up features one of the starriest casts ever assembled for the big screen—a SAG Award–nominated ensemble that has, in total, won eight Oscars out of 43 nominations. Icons ranging from Meryl Streep to Cate Blanchett to Mark Rylance reveal bitingly funny new shades in supporting turns, alongside comic heavyweights like Tyler Perry and Jonah Hill. But for the three lead characters—scientists who band together to convince the White House, then the U.S. as a whole, to stop a comet from ending life on Earth as we know it—the vision was always clear: “It was Leo, Jen, and Rob,” says casting director Francine Maisler. There’s an alchemy to the cast of Don’t Look Up that feels fresher and stranger than it might have been in less-skilled hands. “It brought together such a unique group of people that was a once-in-a-lifetime opportunity,” star Leonardo DiCaprio tells me. Maisler, who also cast this season’s Dune and Being the Ricardos, has worked with McKay since The Big Short and was Emmy-nominated for Succession. They’ve developed “an ease with each other” while collaborating on projects of increasingly large scale—and possibility. They banter; they might disagree. But in it, they find a balance. “He makes me better at what I do,” Maisler says. “And I think I put some ideas in his head to let him go and really explore.” Thanks to The Big Short and Vice, McKay had developed a reputation for directing awards-contending, actor-friendly, widely popular projects of a political bent. Don’t Look Up has not only been the biggest example yet, but one with a real, clear warning about climate change that folks with platforms wanted to help spread. Lawrence signed on first. DiCaprio, a longtime climate-change policy activist, followed. “It took time for Leo to say yes to the movie,” Maisler says. “It was over months and months that he and Adam sat down and talked about the character.” “I really wanted to emulate the frustrations of the scientific community, especially scientists that have felt pushed aside and marginalized and have tried to convey the science and the truth about the time frame that we have to solve this crisis,” DiCaprio says of how he shaped the role of schlubby Dr. Mindy. “[Adam] was incredibly open to all kinds of ideas, which is an amazing way to enter a project.” Maisler and McKay continued the casting process before DiCaprio was locked, fielding interest from a variety of A-listers. “All of these actors, once they read the script, were just like, ‘I want to do the role,’” Maisler says. “I like to kid that Meryl auditioned, but I’m not finding a way in for that joke.” Ultimately, per Maisler, she and McKay embraced the flood for two reasons: “These people wanted to be part of it and have their voices heard for this important topic. And we really wanted to get the biggest audience we possibly could.” (It didn’t hurt that some of the best actors in the world were asking to play a few scenes, either.) But there were discussions about whether the cast might have ballooned to too many people. “It just kept getting bigger and bigger,” Maisler admits. Great stuff came of that trend, certainly. Timothée Chalamet proved hilarious as a burnout love interest to Lawrence, then touching as his character revealed a surprising spiritual depth. Mark Rylance was unrecognizable (and terrifying) as an Elon Musk–esque tech billionaire. (“We wanted somebody who was going to create a character, and he can do anything,” Maisler says.) But yeah, it’s a lot. The sheer volume led to a focus on pivotal roles that could be occupied by a different class of great actors—those able to walk into a coffee shop with a little less fuss. Maisler points, first and foremost, to the casting of Melanie Lynskey as June, Dr. Mindy’s wife. “For me, it was so important that the actress be around Leo’s age, and that you first think she’s a bit submissive and just the wife, but then she is the one to put Leo’s character in his place,” she says. “Melanie’s one of our best. I know that there are so many stars in this, but Melanie’s a star to me because of how her talent is equal to anyone in this. She’s as good as them.” Lynskey, who also drew acclaim recently for her lead role in Yellowjackets, was offered the role and quickly accepted. She has as much screen time as some of her more famous costars, and plays a clear arc as Mindy leaves her behind while pursuing improbable fame, only to return home and face her as the world truly gears up for its ending. “After I said yes, I had a phone call with Adam and it was really lovely—he took 35 minutes to talk to me and give me my character’s whole backstory,” she tells me. “There were certainly bigger parts being played by fancier people. And it just really moved me and made me feel really nice that he took that time with me.” Several ingenious actor pairings elevate Don’t Look Up: DiCaprio and Lawrence; Streep and Hill as a bizarre mother-and-son-slash-president-and-chief-of-staff; Blanchett and Perry as nightmarishly optimistic cable-news hosts; Ariana Grande and Kid Cudi as a vapid-ish pop-star couple. The nuanced, finally wrenching two-hander between DiCaprio and Lynskey grounds the film, though, and steers it toward a powerful climax. “She’s just a fantastic, fantastic actress, and everything that comes out of her mouth is so truthful,” DiCaprio says of Lynskey, before pointing to the scene where she catches him mid-affair with Blanchett’s character: “She just broke my heart.” “I was very surprised at how normal he was—I thought he’s just been so famous for so long, he’s never had a break of not being famous,” Lynskey says with a laugh of DiCaprio. “On my coverage, when they turned around on me, he full-tears cried and gave the exact same performance—which doesn’t always happen. Sometimes people just conserve their energy and don’t give as much. It was really incredible to see how much he was giving for me, like, ‘Hit me with a pill bottle, try to get me in the nuts.’ I was like, ‘I don’t think I’m going to do that.’” DiCaprio gives an against-type performance as a quiet Midwesterner balancing his rage over comet-crisis denial with his affection for the spotlight. One Howard Beale-esque monologue near the end of the film ranks among his finest onscreen explosions. “It so contrasts with everything else he’s done,” Maisler says. That goes for a few cast members. “I used to say, when Trump was the president, ‘Well, man, I can cast anybody for the president now.’” Maisler cracks. And indeed, Streep’s absurdist spin on a Trumpian commander in chief is a far cry from what the three-time Oscar winner is best known for. But she’s funny! And in Oval Office scenes best described as an improv-acting clinic—Streep, DiCaprio, Lawrence, Morgan, Hill, and others endlessly volleying back and forth—Streep commanded the room for her costars. “Just to see how wonderful of a person she is and how giving she is and how open she is, and playful and sharp and on it, was very inspiring,” says Morgan. Morgan asked the Oscar winner for advice on sustaining such an illustrious, lengthy career. “She was like, ‘I swim a mile a day,’” he recalls with a chuckle. Adds DiCaprio: “As we know, she’s Meryl Streep. It’s hard not to expect that kind of greatness. But it was pretty phenomenal to watch.” Morgan, who first came on McKay’s radar after he was cast in McKay’s upcoming HBO Lakers series Winning Time, actually gets emotional thinking back to those scenes—when he held his own against the very stars who were once a big screen away from his world. But so it goes with Don’t Look Up, which leaves room for folks like Morgan, Lynskey, and others to steal scenes right alongside some of the most famous people in the world. “How can you describe the feeling of sitting on your couch, eating a chicken patty and coco bread, dreaming about being able to one day be accepted in the room with the greats—and then getting to that place?” Morgan asks. “How wild and crazy and beautiful and human it was—it was just magical to be a part of.” Source I'm refusing to make a joke about the importance to find Leo a woman actress around his own age. Leo probably the world 100%

Singer Diana Vickers about her "night alone with Leo" LOL X Factor star Diana Vickers' transformation and night alone with Leonardo DiCaprio (...) Diana started rubbing shoulders with Hollywood A-listers - even spending a night alone with Leonardo DiCaprio. In an episode of Celebrity Karaoke Club in October 2020, Diana spilled all on her cosy evening with the Titanic heartthrob. However, her fellow contestants were shocked to discover that absolutely nothing happened between them and they simply "watched the telly". Diana said: "I have a lot of stories but I'm just going to say one. The best one - I've been on a night out with Leonardo DiCaprio. That's my best one. "I was more like hanging out with his friends and then I got a message being like 'oh come back, Leo, he's having a vibe' and I thought it was going to be all Wolf Of Wall Street, like a massive thing. And I got back there and it was [just the two of us]. "It was very chilled and we just ended up watching telly!" (...) Source

Just posting because I didn't saw this on set pic with Leo before. https://www.instagram.com/p/CZPz9vVPLKa/

^that's what I call a nomination flow. I like it. Well deserved 🤩👍

This is so fucking sad even from the distance omg 💔😰 https://www.dailymail.co.uk/news/article-10447597/Bond-girl-Lea-Seydoux-joins-grieving-family-French-actor-Gaspard-Ulliel-funeral.html?ito=social-twitter_dailymailceleb

No shame in grieving a celebrity’s death On January 18, French actor Gaspard Ulliel collided with another skier at La Rosiere in Savoie, France. Ulliel, who was not wearing a helmet, suffered serious brain trauma and died in hospital the following day at the age of 37. I was lying in bed with insomnia at the time, doom-scrolling through social media at 4am. The harsh glow of the cellphone wasn’t doing anything to help me sleep, but in my defence, my brain wasn’t exactly functioning at full capacity. A fairly innocuous tweet caught my eye: ‘RIP Gaspard Ulliel’. It was so short; I almost scrolled past it. But I didn’t, and my stomach sank. Gaspard Ulliel was young, beautiful and talented, known for his portrayals of budding cannibal Hannibal Lecter in Hannibal Rising (2007), fashion mogul Yves Saint Laurent in Saint Laurent (2014) and for being the dashing face of Chanel’s fragrance Bleu de Chanel. Most headlines following his untimely death highlighted his upcoming appearance in Disney’s new series Moon Knight (2022). I first encountered him in Jean-Pierre Jeunet’s A Very Long Engagement, a touching story of a young woman’s search for her soldier fiancee, presumed dead on the battlefields of World War 1. Ulliel’s portrayal of a young man scarred by the atrocities of war was subtle, touching and broke my heart. I wasn’t alone in my sadness, although my feelings paled in comparison to those who knew him personally, of course. In a statement forVariety, Cannes festival director Thierry Fremaux remembered his friend: “Gaspard belonged to this new generation of actors who were making tomorrow’s French cinema. He was equally brilliant and talented. He gave a lot and we’ll always remember him.” This year is only a few weeks old and yet it has taken so many household names — Meat Loaf, Sydney Poitier, Bob Saget, Louie Anderson, Andre Leon Talley and Peter Bogdanovich, to name a few. There’s an odd, self-conscious feeling that accompanies the sadness one feels over a celebrity’s death — a profound but confusing sense of loss. For many, our childhoods were marked by the works and offerings of these stars. They produced the soundtracks of our youth, or were our first crush. We saw ourselves and others in them. They were chimaeras, a beautiful mix of reality and our own projections. I was in high school, in the fledgling phases of my French obsession when I discovered Gaspard Ulliel. He was but one man in a rotating cast of beautiful, talented French celebrities whom I worshipped: Alizee, with her bubblegum-pink pop music, Brigitte Bardot, with her otherworldly allure, Julien Dore, Coeur de Pirate (Quebecoise, but she sings in French), Carla Bruni and Audrey Tautou. I longed to learn French, to sit on the banks of the Seine and delicately eat a croissant while being serenaded by a beautiful French youth in a beret and striped blouse. Of course, when I actually had the privilege of travelling to Paris, I was sorely disappointed. It was grubby, bustling, hot and full of sleazy men who thought nothing of catcalling or casually harassing women in the street. I ate a rubbery slice of cheesy pizza and fended off the advances of drunk middle-aged men. Like Gatsby with his green light, I learned that my idea of something eclipsed the real thing. Gaspard Ulliel’s death was similarly disconcerting. Celebrities — even as they age, bicker, marry, divorce, bear children and have public breakdowns, seem somewhat immortal and unchanging. They are constants in our lives and minds: always young, always beautiful, always healthy, rendered in HD, surround-sound and overly saturated tabloid pictures. Their death seems unreal and wrong, as if the DVD has frozen or the record has skipped. And here’s the thing that really gets to me. Gaspard Ulliel’s death hit me hard because in so many of his performances, I saw glimpses of my brother, John. I know what we see on the screen is not reality; I know Ulliel was only ‘‘acting’’ and that he was his own person, quite apart from his cinematic and artistic endeavours. But in his gentle, troubled soldier Manech, I saw my own brother’s mental anguish as he battled his own demons, even if his spectres did not arise from the blood and mud of war. Ulliel’s characteristic scar on his cheek — once described as the ‘‘most famous scar in French cinema’’ — reminded me of John’s scar above his top lip; the remnant of a particularly ferocious toddler who bit my brother viciously on a playdate when both children were only 2 years old. Both Gaspard and John’s scars transformed their faces, especially when lit by a smile. I can’t help but wonder whether celebrity deaths or other high-profile incidents might act as trigger points for an outpouring of grief over the cumulative stress and pain of the last few years; the fear of contracting a potentially lethal virus, the loss of livelihoods, the general uncertainty and ever-changing circumstances. Perhaps the simple act of grieving for someone one never knew personally is a form of catharsis. There is strength and solidarity in being part of a collective sadness, of reading other people’s tributes and remembrances of those who have passed on, of knowing that one is not alone in feeling mournful and unmoored in the uncertain, constantly-shifting reality of the pandemic. For now, I will remember that it’s OK to feel sadness for the loss of someone I admired, even from afar. I didn’t know Gaspard Ulliel personally, but I greatly respected his work, and I feel a muted but deep sense of grief for the loss of someone so young, loved, and talented. Source

These Are Gaspard Ulliel's Best Performances, Ranked As we mourn the tragic loss of French actor Gaspard Ulliel, we look back at his best performances. Gaspard Ulliel was a well-known French actor, who was granted the title of Knight of the Order of Arts and Letters in France. He made his debut in Summer Things in 2002, which earned him a Lumières Award, one of many he would receive in his lifetime. After a horrible skiing accident, Ulliel tragically died at the age of 37. It’s only fair that he be remembered for the performances he gave us. Ulliel had been a big name in cinema since his appearance in A Very Long Engagement and had branched out into his most known role in North America in Hannibal Rising. Most recently, Ulliel was cast in the Disney+ original MCU series Moon Knight. While we anticipate the release, there are plenty of other Ulliel performances to enjoy. These are Gaspard Ulliel’s best performances, ranked. Hannibal Rising Probably one of Ulliel's most well-known performances, especially in North America, is his role as a young Hannibal in Hannibal Rising. It tells the origin story of Hannibal Lector, who sees his parents' deaths at the hands of the Nazis, his journey through medical school, and his obsession with gaining revenge, which develops into a taste for killing and disposing of his victims in a cannibalistic manner. While the film itself is not one of the most revered of Hannibal films, Ulliel’s performance was enough to save Hannibal Rising from total disaster. One Nation, One King Set during the French Revolution, One Nation, One King follows the lives of young men and women who sacrifice everything for change. Ulliel plays the role of Basile, a revolutionary dedicated to the cause of taking down the monarchy, determined to even the playing field. Ulliel brings out the very essence of the opinions of the French people during the Revolution and their opinions of King Louis XVI as they struggle to make their voices heard. The film includes a number of historic figures including Robespierre, a French lawyer who was an advocate for citizens without a voice. The Dancer The Dancer is a biographical film about Marie-Louise Fuller, also known as Loie Fuller who pioneered modern dance. Marie-Louise moves to New York to pursue her dream of becoming an actress. While on stage, she avoids an embarrassing fall by spinning the fabric of her dress, inventing the Serpentine Dance. The dance gains a great deal of popularity, but when Marie-Louise finds that she is being replaced by imitators, she leaves New York for France. Ulliel plays the role of Louis, a man who takes an interest in Marie-Louise when she arrives in Paris. While Ulliel’s role is not a lead, he still manages to bring charm to his character and the screen. Sibyl Psychotherapist Sibyl is determined to carry out her true passion of writing. New patient of Sibyl’s, actress Margot, is a source of inspiration. Fascination with Margot’s troubled and complex life soon becomes obsession as Sibyl slowly creeps into almost every aspect of Margot’s life. Ulliel plays the role of Igor in Sibyl, Margot’s lover and co-star who is also dating the director of the film they are working on. The film features an ensemble cast alongside Ulliel including Virginie Efira, Adéle Exarchopoulos, Sandra Hüller, and Paul Hamy. Sibyl was the last film Ulliel acted in that was released during his lifetime and was even selected to compete for the Palme d’Or at the 2019 Cannes Film Festival. Saint Laurent Telling the story of Yves Saint Laurent during his career at its height, honing his creativity to forge a sturdy identity for himself and his brand in the fashion industry. Saint Laurent explores Yves Saint Laurent’s most active years in which he built a name and reputation for himself within the industry of design. Ulliel plays the title character in Saint Laurent and his phenomenal performance as the fashion tycoon earned him a Lumières Award for Best Actor. Saint Laurent was also a contender as the French entry for the Best Foreign Language Film at the Academy Awards, but was ultimately not chosen. Jacquou le Croquant A film based on a miniseries of the same name from 1969 and the 1899 novel, Jacquou le Croquant is a story of an uprising against an evil nobleman. Ulliel stars as the title character Jacquou who lives a happy life with his family until the Count of Nansac has his father executed, and his mother succumbs to starvation leaving Jaquou an orphan who is forced to beg on the streets. When Jacquou grows up, he leads the citizens in an uprising against the Count. Ulliel's performance gives off the determination of a man who has had everything taken from him. It’s Only the End of the World Based on the play of the same name, It’s Only the End of the World revolves around writer Louis who returns to his hometown to reveal the tragic news to his family that he is dying. The film follows the struggles of both Louis and his family as they struggle to find empathy for him and his circumstances. This Canadian film earned a number of awards, including a César award for Best Actor which went to Ulliel for his performance. The film even gained credit from the Canadian Prime Minister Justin Trudeau, praising director Xaviar Dolan for his contribution to the Canadian creative arts. The Princess of Montpensier Marie is arranged to marry the Prince of Montpensier, but trouble brews when she falls in love with soldier Henri de Guise, her childhood friend. The period romanc The Princess of Montpensier was inspired by the novel written by Madame de Lafayette. It includes the religious strife that occured and St. Bartholomew’s Day massacre in which Catholics hunted down and murdered thousands of Protestants. Ulliel plays the role of Marie’s lover Henri as the two struggle to find their happiness and express their love despite the surrounding strife. Ulliel’s performance as Marie’s lover Henri is authentic and poignant as towards the end, he makes a decision that not everyone could make. Summer Things Summer Things follows married couple philandering real estate Bertrand and bored housewife Elizabeth and their neighbors Véro and Jérôme. In an attempt to get closer to her neighbors, Véro plans a trip at the same time as Bertrand and Elizabeth, ending up at the same resort. Ulliel plays the role of Loic, son of Véro and Jérôme. The French title Embrassez qui vous voudrez, which roughly translates to Kiss Whoever You Want which seems a more appropriate title considering the contents of the film. Summer Things was released to critical acclaim and earned Ulliel his first Lumières Award for Most Promising Actor. A Very Long Engagement During WWI, Mathilde searches for her fiancé Manech, said to be dead. Based on the novel of the same name, the film stars Audrey Tatou and Ulliel in the lead roles in A Very Long Engagement. The film was nominated for two Academy Awards and won five César Awards, one for Most Promising Actor for Ulliel. This tragic love story was subject to much praise for the performances and the direction by Jean-Pierre Jeunet, responsible for the masterpiece called Amelie. Source

^ Cate Blanchett and Leonardo DiCaprio Near Oscar Records for Roles in Best Picture Nominees The best picture prize is what every studio and filmmaker covets, whether they publicly admit it or not. But, of course, it would help if you had the star power to make it happen. Oscar winners Leonardo DiCaprio and Cate Blanchett both have proven that they have said star power with the amount of best picture nominees (and winners) they’ve appeared in over their careers. With DiCaprio starring in “Don’t Look Up” alongside Blanchett, who is co-starring in another awards vehicle, “Nightmare Alley,” both stand a solid chance of getting close to — or possibly breaking — a record. This year, Blanchett’s double feature outings could have her breaking a significant record for female actors. The two-time Oscar-winning actress currently has had a role in seven former Academy nominees: “Elizabeth” (1998), “The Lord of the Rings” trilogy (2001, 2002, 2003), “The Aviator” (2004), “Babel” (2006) and “The Curious Case of Benjamin Button” (2008). She’s currently tied with eight other women who have the same distinction: Beulah Bondi, Gladys Cooper, Bette Davis, Katharine Hepburn, Deborah Kerr, Elsa Lanchester, Meryl Streep and Elizabeth Taylor. Only “Gone with the Wind” star Olivia de Havilland has more credited roles with eight. With two shots at the goal this year — Adam McKay’s “Don’t Look Up” and Guillermo del Toro’s “Nightmare Alley” — she could either tie or surpass de Havilland’s long-held record, thus making Oscars history. A fun fact to recall is her “Don’t Look Up” co-star DiCaprio was once attached to “Nightmare Alley” before dropping out and being replaced by actor and producer Bradley Cooper. So essentially, we could have had two Leo-Cate vehicles this year. McKay’s satirical comedy marks their second outing following Martin Scorsese’s “The Aviator,” which Blanchett won supporting actress for playing, coincidentally, Katharine Hepburn. DiCaprio was also nominated and would ultimately win for the revenge-thriller “The Revenant” (2015), the same year Blanchett was nominated again for “Carol,” which was snubbed for best picture and would have tied the record she now seeks. DiCaprio has appeared in nine nominees, the same number as Gary Cooper, Tom Hanks, William Holden and Spencer Tracy. Despite the critical divide for the Netflix feature from co-writer and director Adam McKay, it’s performed very well on the awards circuit, with nods at the Screen Actors Guild and Critics Choice Awards in the top categories. If the film receives a nomination for best picture, DiCaprio will tie three-time Oscar-winner Jack Nicholson, who’s appeared in 10 best picture nominees. He’ll only be second to two-time Oscar-winner Robert De Niro, who holds the record with 11 films, beginning with “The Godfather Part II” (1974) up to “The Irishman” and “Joker” (2019). What’s most interesting about these two climbing the charts is that their future slates with acclaimed filmmakers will likely continue the trend over the next few years. DiCaprio is re-teaming with Scorsese on two of his upcoming projects, “The Killers of the Flower Moon” for Apple Original Films and “Roosevelt” for Paramount Pictures. In addition, Blanchett has a lot on her plate with upcoming roles in Pedro Almodóvar’s “A Manual for Cleaning Women,” his first English-language feature, which she will also produce. She’ll also appear in “TÁR” from Todd Field, “Pinocchio” from Guillermo del Toro and “Borderlands” from Eli Roth, with another possible project in the works, Francis Ford Coppola’s “Megalopolis,” which she’s been rumored to be circling alongside Oscar Isaac and Zendaya. It’s important to note that many of these long-held records are based on technicalities dealing with acting credits during the golden age of Hollywood. Bess Flowers and Ward Bond technically appeared in more Oscar nominees with 23 and 13 films, respectively. In the case of Flowers, all her appearances were uncredited, while Bond has five that didn’t bear his name. For best picture winners, the classic vaudevillian actor Franklyn Farnum, who appeared in over 1,000 films, holds the record for appearing in seven of the Academy’s top picks: “The Life of Emile Zola” (1937), “Going My Way” (1944), “The Lost Weekend” (1945), “Gentleman’s Agreement” (1947), “All About Eve” (1950), “The Greatest Show on Earth” (1952) and “Around the World in 80 Days” (1956). We’ll see if the Blanchett and DiCaprio awards momentum can continue. Oscars voting opens on Thursday. Source

^Speaking of Leo and his movies. People on the major movie boards still think Leo is in the oscar race. Will the 2022 Best Actor Oscars race be a rerun of 2020? In 2020, Joaquin Phoenix (“Joker”) won Best Actor from a lineup of five contenders in which he ranked in the middle, age-wise. At 45, he defeated two older competitors [Jonathan Pryce (72, “The Two Popes”) and Antonio Banderas (59, “Pain and Glory”)] and two younger ones [Adam Driver (36, “Marriage Story”) and Leonardo DiCaprio (45, “Once Upon a Time in Hollywood”)]. Two years later, Phoenix could face off once again against those two junior contenders. Of these three, DiCaprio stands the best chance of making it into the upcoming lead male lineup, as he currently ranks seventh by our odds. He is looking to earn his seventh acting nomination for “Don’t Look Up.” In this deft satie his character, Dr. Randall Mindy, attempts to use his influence as an astronomer to alert mankind about a comet’s impending collision with Earth. Prior to his 2020 bid, DiCaprio competed as the star of “The Aviator” (2005), “Blood Diamond” (2007), and “The Wolf of Wall Street” (2014) before prevailing for “The Revenant” in 2016. His first career nomination came in 1994 for his supporting turn in “What’s Eating Gilbert Grape.” Currently in 13th place is Phoenix, who is attracting buzz for his performance as a traveling interviewer of children in “C’mon C’mon.” This would be his fourth bid in this category following his first outing as a supporting player in “Gladiator” (2001). His first two lead nominations came for “Walk the Line” in 2006 and “The Master” in 2013. Earning a fifth nomination would make him the 30th man to hit that number and the 13th youngest to do so after Marlon Brando (33), Jack Nicholson (38), Al Pacino (39), Peter O’Toole (40), DiCaprio (41), Richard Burton (41), Paul Muni (42), Tom Hanks (44), Arthur Kennedy (45), Dustin Hoffman (45), Gregory Peck (46), and Denzel Washington (47). Running in 14th place is Driver, whose first shot at Oscar gold came just three years ago for his featured role in “BlacKkKlansman.” While his portrayal of ill-fated businessman Maurizio Gucci in “House of Gucci” gives him his best shot at a nomination, it is only part of his eclectic 2021 body of work. As the star of the musical “Annette” and the medieval drama “The Last Duel,” he also respectively takes up the 20th and 34th slots in our ranking. If he succeeds in securing a spot in the final five, he will be the 25th man to receive three acting nominations before the age of 40. The most recent entrants on that list were DiCaprio in 2007 and Phoenix in 2013. The five actors currently leading our Best Actor race are Will Smith (“King Richard”), Benedict Cumberbatch (“The Power of the Dog”), Andrew Garfield (“tick, tick… BOOM!”), Washington (“The Tragedy of Macbeth”), and Peter Dinklage (“Cyrano”). In sixth place between Dinklage and DiCaprio is Javier Bardem (“Being the Ricardos”), while those running between DiCaprio and Phoenix are Nicolas Cage (“Pig,” eighth), Bradley Cooper (“Nightmare Alley,” ninth), Simon Rex (“Red Rocket,” 10th), Timothée Chalamet (“Dune,” 11th), and Clifton Collins Jr. (“Jockey,” 12th). Source

You can vote for DLU here: https://editorial.rottentomatoes.com/guide/fan-favorite-movie-2021/

Leo as Spider-Man See the clip: https://www.instagram.com/p/CZMe0oJt1lU/

And another nom 😊