Morgan Freeman Paid Tribute to Gene Hackman at Oscars

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Morgan Freeman honored Gene Hackman at the Academy Awards on Sunday, opening the telecast’s in memoriam segment by saying the film community had “lost a giant.”

Last week, Hackman, 95, and his wife, Betsy Arakawa, 65, were found dead in their home in New Mexico. In recent days, the question of how they died has consumed Hollywood and bewildered the community of Santa Fe.

Freeman appeared with Hackman in the 1992 western “Unforgiven,” which won Hackman his second Oscar, and the 2000 thriller “Under Suspicion.”

“Like everyone who ever shared a scene with him, I learned he was a generous performer and a man whose gifts elevated everyone’s work,” Freeman said.

Calling Hackman a “dear friend,” Freeman noted that the actor often said he did not think about his legacy but hoped that people would remember him “as someone who tried to do good work.”

“So I think I speak for us all when I say, Gene, you’ll be remembered for that, and for so much more,” Freeman said.

The producers of the telecast had only a few days to decide how they would honor one of the giants of acting. On Wednesday, law enforcement found Hackman’s body in the mud room of his home outside Santa Fe, next to his cane and sunglasses. Arakawa’s body was discovered in a bathroom, near an open prescription bottle and pills scattered on the countertop.

An examination of Hackman’s pacemaker indicated that the actor had died Feb. 17, the Santa Fe County sheriff said. A detective wrote in an affidavit that Arakawa’s body had shown signs of decomposition and that Hackman showed signs of death “similar and consistent” with his wife.

It could take weeks or longer for investigators to piece together a timeline as they interview the couple’s contacts and wait for toxicology results and autopsy reports.

This article originally appeared in The New York Times.

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‘I’m Still Here’ from Brazil wins Oscar for best international film

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By JONATHAN LANDRUM Jr.

LOS ANGELES (AP) — “I’m Still Here,” a Brazilian film about a family torn apart by the military dictatorship that ruled Brazil for more than two decades, won the Oscar on Sunday for best international film.

The Walter Salles film stars Fernanda Torres as Eunice Paiva, the wife of Rubens Paiva, a former leftist Brazilian congressman who, at the height of the country’s military dictatorship in 1971, was taken from his family’s Rio de Janeiro home and never returned.

The focus of “I’m Still Here,” based on the memoir by Paiva’s son Marcelo, is Eunice, the mother of five left to remake their family’s life with neither her husband nor any answers for his disappearance. It unfolds as a portrait of a different kind of political resistance — one of steadfast endurance.

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Eunice refuses the military dictatorship’s attempt to break her and her family. When, in one scene, Eunice and her children — by then long without their disappeared father — pose for a newspaper photograph, she tells them to smile.

“The smile is a kind of resistance,” Torres told The Associated Press. “It’s not that they’re living happily. It’s a tragedy. Marcelo recently said something that Eunice said that I had never heard: ‘We are not a victim. The victim is the country.’”

“I’m Still Here” is a deeply Brazilian story, made by one of the country’s most acclaimed directors (Salles’ films include “Central Station” and “Motorcycle Diaries”) and starring the daughter of one of the country’s greatest stars, Fernanda Montenegro. She appears late in the film as the older Eunice.

Also nominated for best international film were Denmark’s “The Girl with the Needle,” Germany’s “The Seed of the Sacred Fig,” Latvia’s “Flow” and France’s “Emilia Pérez,” a onetime Oscars favorite marred by controversy.

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For more coverage of the Oscars, visit: https://apnews.com/hub/academy-awards.

‘No Other Land’ wins Oscar for best documentary

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By HANNAH SCHOENBAUM, Associated Press

LOS ANGELES (AP) — “No Other Land,” the story of Palestinian activists fighting to protect their communities from demolition by the Israeli military, won the Oscar for best documentary on Sunday.

The collaboration between Israeli and Palestinian filmmakers follows activist Basel Adra as he risks arrest to document the destruction of his hometown, which Israeli soldiers are tearing down to use as a military training zone, at the southern edge of the West Bank. Adra’s pleas fall on deaf ears until he befriends a Jewish Israeli journalist who helps him amplify his story.

“About two months ago, I became a father, and my hope to my daughter that she will not have to live the same life I’m living now, always fearing settlers, violence, home demolitions and forcible displacements,” said Adra.

“No Other Land” came into the night a top contender after a successful run on the film festival circuit. It did not, however, find a U.S. distributor after being picked up for distribution in 24 countries. For the Oscar, it beat out “Porcelain War,” “Sugarcane,” “Black Box Diaries” and “Soundtrack to a Coup d’État.”

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The documentary was filmed over four years between 2019 and 2023, wrapping production days before Hamas launched its deadly Oct. 7, 2023 attack on Israel that started the war in Gaza.

In the film, Israeli journalist Yuval Abraham embeds in a community fighting displacement, but he faces some pushback from Palestinians who point out his privileges as an Israeli citizen. Adra says he is unable to leave the West Bank and is treated like a criminal, while Abraham can come and go freely.

The film is heavily reliant on camcorder footage from Adra’s personal archive. He captures Israeli soldiers bulldozing the village school and filling water wells with cement to prevent people from rebuilding.

Residents of the small, rugged region of Masafer Yatta band together after Adra films an Israeli soldier shooting a local man who is protesting the demolition of his home. The man becomes paralyzed, and his mother struggles to take care of him while living in a cave.

‘El Mal’ from ‘Emilia Pérez’ wins Oscar for best original song

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By MARIA SHERMAN, Associated Press

French composer duo Clément Ducol and Camille took home the original song award at the Oscars on Sunday for their track, “El Mal.”

In January, “El Mal” also earned the pair a Golden Globe in the same category.

The musical “Emilia Pérez” is a lot of things — a musical, a transgender parable, endlessly controversial and frequently criticized for its depiction of Mexican culture.

“We are so grateful,” Camille said in her acceptance speech. “We wrote ‘El Mal’ as a song to denounce corruption.”

The award was presented by Mick Jagger. “I wasn’t the first choice,” he joked. “The producers really wanted Bob Dylan to do it.”

Ducol and Camille beat Diane Warren for “The Journey” from “The Six Triple Eight,” Elton John, Bernie Taupin, Brandi Carlile and Andrew Watt for “Never Too Late” from “Elton John: Never Too Late,” and Abraham Alexander, Brandon Marcel and Black Pumas’ Adrian Quesada for “Like A Bird” from “Sing Sing.”

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They also beat themselves: Their composition “Mi Camino” from “Emilia Pérez” was also up for the award.

The first-time Oscar nominees had a total of three nominations, including original score, at the 97th Academy Awards.

“You go from anxiety to relief, and you’re filled up with energy and you need that,” Camille told The Associated Press in January, when nominations were announced. “We’ve worked so much, and we’ve worked so much for the campaign … I feel very fulfilled and very happy for all the team.”

Camille said the film’s recognition “represents something very important.”

“It’s a very free, provocative and empathic, compassionate movie. And I really think this is what we need now.”

“It’s totally incredible. I was like, ‘What?’ It’s three nominations. It’s huge,” added Ducol. “We were involved at the beginning of the construction of the story in music … So everything is linked together, is woven together between the script, the screenplay, the songs. And so, we feel like it’s our story, our movie … It’s not just a musical or reflecting a story or reflecting action in the movie. The music and the songs, in this movie, is the script. It is the story.”