Cinema has long been a powerful medium for telling human stories, offering audiences a mirror to society’s struggles, triumphs, and transformations. For queer communities, film has been both a battleground and a stage. It reflects the shifting perceptions of sexuality, gender identity, and the fight for visibility.

The history of queer representation in cinema reveals much about cultural attitudes toward sexuality, the evolution of artistic expression, and the ongoing need for inclusion.

From early silent films to modern blockbusters, queer stories have emerged in varied forms, each adding a layer of meaning to how these narratives are understood. This exploration traces how queer lives have been portrayed, the barriers filmmakers have faced, and how representation has changed over the decades.

Hidden beginnings in early cinema

In the earliest days of film, queer identities were rarely portrayed openly. Silent films occasionally hinted at same-sex attraction through subtle gestures or coded imagery. Filmmakers faced strict social restrictions and censorship laws, which meant queer themes were often veiled. Characters were sometimes presented as eccentric or villainous, reflecting societal prejudices rather than authentic lived experiences.

For instance, early horror and noir genres occasionally used queer-coded villains as a way to signal danger or moral ambiguity. A tactic that reinforced stereotypes rather than genuine representation. These portrayals reveal that queer existence was visible, but only in hidden, distorted forms. These coded narratives laid the groundwork for both creative resistance and the challenges that lay ahead for queer filmmakers.

The rise of queer narratives in mid-20th Century

As cinema moved into the mid-20th century, queer themes began to gain more visibility, though still under heavy constraints. The Motion Picture Production Code in the United States, for example,  enforced strict guidelines that prohibited explicit discussion of homosexuality.

Filmmakers responded with subtext, symbolism, and coded references, allowing queer viewers to find meaning where mainstream audiences might not recognise it.

International cinema, especially in Europe, began to push boundaries earlier. Directors like Rainer Werner Fassbinder and Jean Cocteau explored queer themes more openly, creating a niche for queer cinema that was both daring and poetic. These films challenged the perception that queer stories could not belong to art or mainstream narratives, planting seeds for later cultural shifts.

Read more: The groundbreaking LGBTQ+ icons throughout history…

Breaking barriers: The 1980s and 1990s

The 1980s and 1990s marked a turning point in queer cinema, driven by activism and social change. The HIV/AIDS crisis brought queer issues into urgent public discourse, influencing how queer lives were represented in film. Filmmakers began telling stories that centred queer experiences with greater honesty and urgency.

Independent cinema flourished during this period, offering platforms for authentic queer voices. Films such as Paris Is Burning and My Own Private Idaho explored queer identity with emotional depth and complexity. This era marked a significant expansion of narratives beyond stereotypes, allowing queer cinema to examine themes of love, loss, identity, and resilience with nuance.

Shifting perspectives on LGBTQ+ representation

The discussion of queer representation in film today is more prominent than ever, reflecting both progress and ongoing challenges. Also, LGBTQ+ representation in film is no longer confined to niche art houses; it has expanded into mainstream cinema and television. There is greater visibility of queer characters in diverse roles. This ranges from romantic leads to multifaceted protagonists in genres such as drama, comedy, fantasy, and science fiction. Yet representation still faces obstacles. Issues of tokenism, stereotyping, and underrepresentation remain prevalent.

Authentic representation requires more than the inclusion of queer characters. It demands depth, complexity, and respect for lived experience. The presence of queer filmmakers and storytellers is essential to achieving this, as they bring lived insight that shapes narratives beyond surface-level portrayals.

Contemporary queer storytelling

In the last decade, queer storytelling in film has become increasingly varied and bold. Advances in technology, greater access to filmmaking platforms, and evolving social attitudes have opened new spaces for queer narratives. Streaming services have broadened opportunities for queer filmmakers, allowing stories to reach global audiences without relying solely on traditional distribution channels.

Films such as Portrait of a Lady on Fire, Moonlight, and The Half of It have achieved critical acclaim, not only for their artistry but also for their nuanced portrayals of queer lives. These stories challenge viewers to move beyond assumptions and engage with queer identity as a complex, universal human experience.

Today’s queer cinema is not confined to representation alone; it is actively shaping culture and influencing how society perceives diversity.

Challenges and future directions

While queer stories in film have achieved remarkable progress, there remains significant challenges to overcome. Many queer filmmakers face barriers such as funding shortages, restrictive industry gatekeeping, and cultural censorship in different parts of the world, which can limit the scope and authenticity of storytelling.

Representation still often leans toward certain narratives, frequently prioritising stories that fit mainstream expectations while sidelining more diverse voices. This creates a gap where intersectional experiences, such as those of queer people of colour, trans individuals, disabled queer people, and queer voices from non-Western cultures, may remain underrepresented.

Another challenge lies in avoiding tokenism, where queer characters exist only as symbols rather than fully developed individuals, which risks reducing representation to mere visibility rather than meaningful storytelling. Expanding the scope of queer storytelling means embracing diversity in all its forms, across genres, perspectives, and cultural contexts. This requires both structural change within the industry and deliberate creative risk-taking from filmmakers willing to challenge norms.

Audience support also plays a role…

As demand for inclusive and authentic stories can push studios and producers to take chances on narratives that have historically been ignored. The future of queer cinema depends on building spaces where a wider range of queer voices can be heard and respected, shaping a richer, more inclusive cinematic world where every story has the possibility of being told.

Queer narratives have travelled far from their early coded origins, evolving into a rich and complex realm of storytelling that reflects both progress and the struggles that remain. The history of queer representation in film is a chronicle of resilience, creativity, and the fight for visibility.

As society continues to evolve, queer cinema will remain a vital part of cultural conversation, illuminating identities and experiences that deserve to be seen and understood. The journey of queer stories in film history is ongoing, and every new film adds a chapter to this unfolding narrative of inclusion, resistance, and transformation.

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Forty years after This Is Spinal Tap redefined the mockumentary, Nigel Tufnel, David St Hubbins and Derek Smalls are back. Spinal Tap II: The End Continues hits cinemas tonight, promising one last encore for the world’s ‘loudest band’. But does the sequel live up to the legend, or should the amps have stayed unplugged? Is the new Spinal Tap film any good? Critics in the UK and US are divided.

Sigh. I loved the first Spinal Tap film. Launched in the ‘80s when I was young and had the brain space to remember endless lines of script, I watched and re-watched it, joyously engaging in shouting dialogue in the pub with my friends. It was a work of genius.

So I’ve been anxious about this sequel. Even more so when I saw the trailers and promo shots. I was also worried that it might not be as good as the first one. Things rarely are (with a very few notable exceptions – Godfather II, Dark Knight, Terminator 2…). So maybe it was a subconscious block when I was invited to preview screenings and found I couldn’t get there. I think I was just too wary of heartbreak.

But braver souls than me got there, and so in a cowardly fashion, here is a little roundup of the best and the worst of the reviews. You will go and watch it, I’m sure, and make up your own mind. I expect I will too, now. See what you think anyway…

A warmish welcome – with caveats

Christopher Guest, Harry Shearer, and Michael McKean in Bleecker Street’s SPINAL TAP II. Credit: Bleecker Street / Kyle Kaplan

The (fairly threadbare) storyline here is that the Tap are essentially forced to reunite when Hope Faith (Kerry Godliman), daughter of their late manager Ian Faith (originally played by Tony Hendra, who died in 2021), uncovers a clause in their contract demanding one final performance. Spinal Tap are forced to play one final gig to honour the terms of the contract, and so in the immortal words of Jake Blues, ‘We’re getting the band back together.’

From the get-go, many reviews acknowledge the nostalgic pleasure of seeing ‘the Tap’ together again – albeit with reservations. Christopher Guest, Michael McKean, and Harry Shearer are here, still bickering and blundering with deadpan delivery. The Guardian called the film “affectionately melancholy,” noting that “there’s a sadness underpinning the comedy, as these once-wild rock gods face down mortality with the same lack of self-awareness that once made them funny.”

The Financial Times was more upbeat, praising the film’s commitment to giving fans what they want. “There are moments of comic gold,” its review declared, “and the band’s chemistry is still a joy to watch. It may not break new ground, but it plays the hits well.”

Cameos also provided a boost. Paul McCartney’s brief turn has been widely mentioned, as have appearances from Elton John and Garth Brooks. “McCartney almost walks away with the film,” said the FT, “his deadpan contribution reminding you why these films work best when reality and parody collide.”

Paul McCartney, Christopher Guest, Harry Shearer, and Michael McKean in Bleecker Street’s SPINAL TAP II. Credit: Bleecker Street / Kyle Kaplan

But the problems pile up

Yet for every chuckle, several reviewers found themselves cringing. The Independent was scathing: “Spinal Tap II is startlingly unfunny… a film that confuses affection with inspiration. The jokes are fewer, the timing worse, and the nostalgia feels like a hollow excuse.”

Empire was just as damning. Its verdict? “As unfunny as the original was funny.” The magazine lamented a lack of sharpness, describing the film as “a limp setlist of reheated gags and sketch-like scenes that never quite build into a song.”

The Associated Press echoes the frustration, criticising the film’s pacing. “Scenes drag on long past the punchline,” its reviewer wrote. “What was once quickfire wit now feels sluggish, as though everyone is waiting for the laugh track that never comes.”

Older men, even older jokes

One of the biggest sticking points is the reliance on callbacks. The Stonehenge gag reappears, as do nods to exploding drummers, and amps that go up to eleven. Some critics found this reassuring. Others rolled their eyes.

“The film leans so hard on nostalgia it topples over,” wrote the Independent. “It’s less a sequel than a scrapbook, recycling lines and situations with the weary air of a band forced to play their biggest hit night after night.”

Yet for some, that’s the point. The Guardian suggested the repetition had an unexpected poignancy: “They are trapped in their past, still defined by the same ridiculousness. That makes the comedy bittersweet – a reminder that the world moved on, even if Tap didn’t.”

Ageing rockers, ageing jokes

Perhaps inevitably, much of the humour now centres on the band’s advancing years. Smalls runs a glue museum, St Hubbins writes jingles for a true-crime podcast, and Tufnel runs a cheese shop – which surely has to be a nod/dig at Alex James from Blur?! These sketches earned chuckles from some reviewers, groans from others.

Christopher Guest as Nigel Tufnel / Bleecker Street

The FT argued they “land with just enough wit to keep the film alive,” while AP felt they “play like Saturday Night Live leftovers.”

Still, the film’s reflection on ageing struck a chord in places. The Guardian noted: “The moments where the band face their mortality head-on, however absurdly, are the most affecting. The film may not be consistently funny, but it has a heart.”

Critical consensus? A middling encore

So where does that leave the verdict? On Rotten Tomatoes the film sits at around 73%, suggesting audiences and critics alike are lukewarm but not hostile. For die-hard fans, it’s a chance to spend more time with beloved characters. For others, it’s a reminder that lightning rarely strikes twice.

The Guardian summed it up best: “It’s not as funny, not as sharp, and nowhere near as groundbreaking – but it still manages to strum a chord of nostalgia and pathos.” Empire, by contrast, dismissed it outright: “Spinal Tap II is a sequel that turns down the comedy, leaving only the feedback.”

In the end, Spinal Tap II may be judged less as a film and more as a reunion tour. For those who once memorised every line of the original, like me, the sight of Guest, McKean and Shearer back in costume may be enough. For everyone else, this might be one comeback gig best caught when it hits the small screen.

TLDR; Critics on Spinal Tap II – the best and the worst

The Guardian

“Affectionately melancholy… there’s a sadness underpinning the comedy, as these once-wild rock gods face down mortality with the same lack of self-awareness that once made them funny.”

The Independent

“Startlingly unfunny… the nostalgia feels like a hollow excuse.”

Empire

“As unfunny as the original was funny… a limp setlist of reheated gags.”

Financial Times

“There are moments of comic gold… the band’s chemistry is still a joy to watch.”

Associated Press

“Scenes drag on long past the punchline… what was once quickfire wit now feels sluggish.”

Rotten Tomatoes (critics’ score ~73%)

“Not as funny, not as sharp, and nowhere near as groundbreaking – but it still strums a chord of nostalgia and pathos.”

Watch the trailers etc

Sam Harrington-Lowe

Sam is Silver’s founder and editor-in-chief. She’s largely responsible for organising all the things, but still finds time to do the odd bit of writing. Not enough though. Send help.

The post The new Spinal Tap film. Is it any good? appeared first on Silver Magazine.

The simmering resentments, the unspoken rivalries, the caustic one-liners that only two people who once adored each other could ever inflict. The Roses, opening in cinemas this weekend, captures all of that – only louder, sharper, and with a lot more collateral damage.

Directed by Jay Roach (Bombshell, Meet the Parents), the film pairs Benedict Cumberbatch and Olivia Colman on screen for the first time, playing Theo and Ivy Rose. At first glance, theirs is a charmed life: two successful careers, a seemingly solid marriage, children, and a dream home.

But then Theo’s architectural career implodes. He’s on the verge of fame with a high-profile nautical museum in San Francisco, but on the day of its unveiling, a storm hits. The building collapses due to a structural flaw, instantly ruining his reputation.

To make it worse, the same storm reroutes traffic to Ivy’s seafood restaurant, where a prominent critic happens to dine. Her career takes off overnight, just as his falls apart.

As Ivy’s culinary success and ambitions soar, that picture-perfect façade fractures. What begins as witty sparring escalates into full-blown emotional combat.

It’s a modern reimagining of Warren Adler’s novel and the 1989 black comedy The War of the Roses. But this version, scripted by Tony McNamara (The Favourite, Poor Things), digs into contemporary pressures: ambition, perfectionism, social media success, and the capitalist grind pulling couples apart.

“Real life, only turned up”

Director Jay Roach is clear about what drew him to the project. “The tone is unique, it’s basically real life,” he explains. “I often use humour to navigate tough moments, and I think people in relationships who can joke and tease their way through awkward situations show signs of a healthy bond. But this film explores how that love language can turn from teasing to outright attack – and sometimes, it’s hard to tell the difference.”

That grey area – when affection mutates into cruelty – is something McNamara’s script skewers with savage wit. Cumberbatch loved it from the outset. “This is a laugh-out-loud script, filled with bad behaviour,” he says. “It’s so much fun, so inventive and so witty.”

Colman agrees. “Tony is so good at doing proper hilarity that you forget there’s also this intense emotion in there. He sprinkles it in, and it breaks your heart.”

Olivia Colman and Benedict Cumberbatch in The Roses. Photo by Jaap Buitendijk, Courtesy of Searchlight Pictures. © 2025 Searchlight Pictures All Rights Reserved.

Theo and Ivy: recognisable, messy, real

Cumberbatch sees Theo and Ivy as characters audiences will immediately recognise. “As a couple, they are very identifiable,” he says. “This film will have something recognisable in it for everybody, whatever stage their relationship is at. Hopefully not too much, though. This is a cautionary tale at the end of the day.”

For Colman, Ivy was a joy to play. “Ivy Rose is ace; she’s quite a free spirit. She’s a chef, she’s funny, passionate, loving, a good mum. When Ivy and Theo meet, it’s explosive. Then they have children, and it all goes a bit wrong. Both Ivy and Theo are brilliant at what they do, but it’s hard for them to find a balance between their careers and family life.”

Theo, meanwhile, is as magnetic as he is flawed. “I love his directness,” Cumberbatch says. “He knows what he wants and goes for it. Some of those decisions are devastating, some heartbreaking, some funny. At times he’s his own worst enemy. He gets lost in retribution and in his emotional state and can’t see the other people involved. He’s just not that self-aware.”

In short, they’re the sort of couple you might admire across the dinner table – until you realise their witty banter is really a declaration of war.

Olivia Colman and Benedict Cumberbatch in THE ROSES. Photo by Jaap Buitendijk, Courtesy of Searchlight Pictures. © 2025 Searchlight Pictures All Rights Reserved.

Fun hating each other

What makes The Roses irresistible is not just the script but the pairing of its two stars. Although Cumberbatch and Colman have been friends for years, this is their first project together. And both threw themselves into the escalating venom with relish.

“I think really it’s because in this film she gets to be the very worst version of Olivia Colman there could ever be,” Cumberbatch says. “And I’ve relished watching her do it.”

Colman agrees. “Yes, it has been lots of fun, hating each other. There’s something rather therapeutic about getting to be utterly horrible to someone, and then having a good laugh about it later.”

Their chemistry on set was instant. Writer Tony McNamara recalls the first day of shooting: “In their first scene, we were like, ‘Oh my God, they feel like they’ve been married for so long.’ They had such a connection and rhythm. It felt incredible.”

Even the crew found themselves divided in their loyalties. Producer Michelle Graham recalls: “It was fascinating to see who related to Theo or Ivy at various stages of the story.”

A Gen X cautionary tale

For those of us who came of age in the late 80s and 90s – who maybe watched the original War of the Roses with both horror and fascination – this new version feels more relatable. McNamara points out that the pressures on modern couples are different. “Today’s world is different… ambition, desire for perfection, individualism, and the capitalist system pull people apart. It’s not great for a happy marriage.”

That’s the sting in the comedy: the very real challenge of holding a relationship together while careers, kids, and self-image all compete for space. As Colman puts it, “Both Ivy and Theo are brilliant at what they do. But it’s hard for them to find a balance between their careers and family life.”

And as McNamara notes, the story works because it doesn’t let either character off the hook. “I want people to root for Theo and Ivy to be together but recognise how difficult that is. I don’t think as an audience you want them to suddenly be nice to each other.”

Why it matters now

By the end, audiences may laugh, wince, and perhaps eyeball their partners a little too knowingly. Roach hopes the film prompts reflection. “I hope this film causes every person watching it to turn to their partner and say, ‘Wow, we need to talk honestly and drop the surface stuff, because if we don’t, we might misunderstand each other.’”

For Cumberbatch, the takeaway is simpler: “This is a cautionary tale.”

For Colman: “It’s about human mess in all its glory.”

And for married couples watching, perhaps the most sobering recognition is that the line between playful banter and destructive warfare is a lot thinner than we’d like to admit.

The Roses
In cinemas from 29 August 2025

Sam Harrington-Lowe

Sam is Silver’s founder and editor-in-chief. She’s largely responsible for organising all the things, but still finds time to do the odd bit of writing. Not enough though. Send help.

The post The Roses: when love turns into warfare appeared first on Silver Magazine.

From fighter jets to Formula 1, makers of Top Gun: Maverick director Joseph Kosinski and producer Jerry Bruckheimer are once again putting audiences in the driver’s seat. Designed specifically for IMAX, F1: The Movie offers an unprecedented, immersive racing experience.  

Shot during actual live F1 races and enriched by the expertise of Lewis Hamilton as producer, this groundbreaking film captures the speed, danger, and drama of motorsport like never before. Take it from us. You are RIGHT there in the driving seat, literally and figuratively. 

We sent along F1 fan and aficionado Emily Tate to the premiere to check out the film before it hits the theatres. Here’s everything you need to know, from the first lap to the checkered flag. But first, a word from Brad.

A scene from Apple Original Films’ “F1® The Movie,” a Warner Bros. Pictures release.

A (Brad) Pitt-stop 

The A-list cast from F1: The Movie has certainly revved-up expectations. Star of Fight Club, Inglorious Bastards and Bullet Train, Brad Pitt is no stranger to an action film. Speaking about F1: The Movie, Pitt share his awe at driving real F1 cars. 

“I still don’t know how we got away with it,” he said about how he, alongside producer Jerry Bruckheimer and director Joseph Kosinski, made what Pitt called “the most visceral driving experience that’s ever been put on film.”

And what they got away with was putting Pitt and his fellow actor Damson Idris into professional race cars and filming them at top speeds. “The forces in these cars, the high-speed corners, the physics of it all want to rip your head from your shoulders,” says Pitt. “It’s shocking what these cars can do. And it’s a high unlike any high I’ve ever experienced before. We just couldn’t capture it any other way.”

Brad Pitt as Sonny Hayes in Apple Original Films’ “F1® The Movie,” a Warner Bros. Pictures release. Photo by Scott Garfield Courtesy Warner Bros. Pictures / Apple Original Films

Joseph Kosinski and Brad Pitt on the set of Apple Original Films’ “F1® The Movie,” a Warner Bros. Pictures release. Photo by Scott Garfield. Courtesy Warner Bros Pictures / Apple Original Films

It’s a film that will appeal to everyone, not just F1 fans…

Pitt says that the magic of the movie is the way it will appeal equally to longtime fans of the sport and to anyone who’s never even heard of Formula 1. “Threading that needle was the biggest challenge. But I think we’ve done that; made it enlightening enough and understandable for newcomers without dumbing it down for ultra fans. It’s funny, it’s aggressive, it’s driving, and it’s surprisingly heartwarming. I love all these characters. I think this film is so damn entertaining on so many levels.”

Joining Pitt is Damson Idris as his teammate-come-rival Joshua Pearce. Poised as one of Hollywood’s most dynamic rising stars, you may recognise him from his role as drug kingpin Franklin Saint in FX’s Snowfall. Or from his roles in Black Mirror and Swarm.

Pursuing something more adrenaline-driven, Idris has always hankered after a heart-stopping physical opportunity like this film. Speaking to GQ recently, Idris says, “I said I wanted to play an athlete and along came F1.” Later, discussing the film in an interview with the NME he adds, “It’s relatable for people who aren’t even F1 fans because it’s not only about being an underdog, but about being given a second chance. That’s something everyone deserves.” 

DAMSON IDRIS as Joshua Pearce in Apple Original Films’ “F1® The Movie,” a Warner Bros movie. Photo by Scott Garfield Courtesy Warner Bros. Pictures / Apple Original Films

Rounding out the star-studded crew (and offering the only strong female character in the whole show) is Kerry Condon, most recently from Star Wars: Skeleton Crew. And Javier Barden, who played a key role in the viral and critically acclaimed series Monsters: The Lyle and Erik Menendez Story. Capping this all off is Game of Thrones star, Tobias Menzies. 

Read more: You’re never too old, and it’s never too late

The premiere – our take on the film 

We asked Emily to attend this exclusive event for us because she’s an experienced F1 fan who’s worked in live events for years. She’s spent a lot of time at F1 tracks, and knows what’s she’s talking about. So, what did she think? 

“From what I had heard and seen I had a feeling it would be very different to any sport-based film I’d seen before, as it had been filmed so closely alongside the actual sport,” she says. “I thought it would give a good insight behind the scenes of Formula One. 

“I think the film felt amazingly immersive. Not just like being in an F1 car, but also the real-life races and racing environment. I loved that the film included real-time F1 drivers, team principals, broadcasters, and press.”

“I was also pleasantly surprised with the humour and comedy elements that were brought into it. You really felt as though you were almost watching a documentary or someone’s real life.” 

The film seems very male-oriented. In fact, most of the characters throughout are male. Is it just a lot of dick-waving macho behaviour, or is there more to it? 

“Kerry Condon, who played the first female engineer, really showed the strength that women in F1 actually have. It’s obviously a very male dominated sport, but her character really represented a strong and intelligent woman in a role that would have stereotypically been seen as a male role. 

(l-r) Kerry Condon as Kate and Kim Bodnia as Kaspar in Apple Original Films’ “F1® The Movie,” a Warner Bros. Pictures release. Photo Courtesy Warner Bros. Pictures / Apple Original Films

“I think Brad Pitt and Damson Idris were brilliant. Damson really stood out, and I think you could pick up the influence that Lewis Hamilton has had on the film. Maybe how he may have felt at the start of his own career as a young black, British F1 rookie.” 

Let’s talk about the driving scenes… 

“These were amazing and something I’ve never seen done so well in a movie before. Both drivers actually drove the cars in the film during live races. And you really felt as if you were in the car with them. Because the races were shot during real race weekends with the current drivers it felt very current, and very real! 

“It’s also something that true-blue F1 fans will love. There are so many references to in-jokes within the sport circles. There’s a lot of the real team owners, principals and drivers in it too, so you get to see the sport from so many different angles.” 

A scene from Apple Original Films’ “F1® The Movie,” a Warner Bros. Pictures release. Photo Courtesy Warner Bros. Pictures / Apple Original Films

The storyline is perhaps inevitably secondary to the incredible tech and visual experience that the film offers. And to be fair, it’s not exactly a plot that will have anyone scratching their heads to understand. Without giving away too many spoilers: 

“The storyline about the team being the underdog and the outcome of the races felt very predictable, until the final race comes around where it is touch and go, and you don’t know what might happen. I won’t say any more than that! 

“With the romance plot (there is one!), again because this did feel completely predictable. But I think it worked well within the overall story line so that it wasn’t just about the racing.” 

And so, any final words?  

“You could definitely feel the influence of Lewis in this film heavily. From how the drivers would interact with each other, how strategy meetings are led, how everyone interacts in the team garage to everything that goes on back at the teams HQ it just felt very real.”  

“Everyone and anyone will enjoy this film. It’s not an intellectual challenge, but equally, you really don’t have to be an F1 fan to enjoy it.” 

What do the critics say? 

So far, F1: The Movie has received glowing reviews:

• IMDb: 7.9/10
• Rotten Tomatoes: 88%
• Common Sense Media: 4/5
• The Guardian: ★★★★ – “Spectacular macho melodrama”

The consensus? F1: The Movie is ‘fresh’ and ‘fast-paced’. It delivers the emotional punch of an underdog story with the high-octane thrills of a live Grand Prix. Whether you’re a racing diehard or a total newcomer, this film puts you right on the track – and doesn’t ease off the gas.

F1: The Movie in UK cinemas from 25 June 2025.
F1: The Movie official website

Emma Cruickshank

Emma is a literature, TV, and film enthusiast. When she’s not writing, she can normally be found out in the Sussex countryside, walking her dog Herbie, or in a restaurant drinking an overpriced cocktail and dreaming up ideas for her next literary endeavour.

The post Brad Pitt on F1: The Movie and our review  appeared first on Silver Magazine.

The Crawleys are returning for one last bow in Downton Abbey: The Grand Finale, the third and final film in the beloved franchise, due to hit UK cinemas on 12 September. And if the newly released trailer is anything to go by, fans can expect high drama, big emotions, and a suitably lavish send-off.

Set in 1930, The Grand Finale picks up with Lady Mary (Michelle Dockery) stepping boldly into London society, where she’s faced with the glare of the press, and possibly a new way of life. Meanwhile, Lord and Lady Grantham (Hugh Bonneville and Elizabeth McGovern) remain at the helm of the Yorkshire estate, quietly grappling with the changes time and progress have wrought.

Fifteen years on from the original ITV series that captured hearts across the world, this final chapter brings the curtain down on one of the most enduring British television sagas of our time. Writer and creator Julian Fellowes returns once more, with Simon Curtis, who directed Downton Abbey: A New Era, back in the director’s chair.

And they’ve brought the full family along

(L to R) Raquel Cassidy stars as Miss Baxter, Kevin Doyle as Mr. Molesley, Sophie McShera as Daisy Parker, Phyllis Logan as Mrs. Hughes, Lesley Nicol as Mrs. Patmore, Jim Carter as Mr. Carson, Brendan Coyle as Mr. Bates and Joanne Froggatt as Anna Bates in DOWNTON ABBEY: The Grand Finale, a Focus Features release. Credit: Rory Mulvey / © 2025 FOCUS FEATURES LLC

Familiar faces abound, from Jim Carter’s steadfast Mr Carson to Joanne Froggatt’s resilient Anna. Brendan Coyle, Phyllis Logan, Penelope Wilton, and Laura Carmichael are all back in their iconic roles, while new names, including Joely Richardson, Alessandro Nivola, and Simon Russell Beale, promise to stir things up. Dominic West also reprises his role as the dashing silent film star Guy Dexter, adding a touch of silver screen sparkle.

Read more: A close look at Jilly Cooper’s Rivals

But one absence will be deeply felt

Dame Maggie Smith, who played the formidable Dowager Countess Violet Crawley, passed away in 2024. Though her character’s death was written into the second film, The Grand Finale is the first release since her passing — and all signs suggest the production is set to honour her legacy. A touching moment in the trailer shows Lady Mary gazing at a portrait of her late grandmother, suggesting a farewell that will be as poignant as it is grand.

There’s going to be no shortage of classic Downton flair in this last outing. The trailer teases a family trip to the races, glittering balls, and all the old-world glamour that fans have come to love. There are vintage motors, sweeping staircases, and of course fashions to die for. But amid the elegance, hints of change are everywhere. In one shot, Lady Mary walks through what might be a London flat – a departure from her palatial upbringing, and perhaps a nod to the future of the Crawley family.

Highclere Castle – the real-life family seat of the Earl and Countess of Carnarvon – once again stars as Downton itself. For Lady Carnarvon, who opens her home each summer to the cast and crew, the series’ success has always come down to one thing: authenticity. “It was actually built as a home,” she says in a piece for Tatler. “Not like Blenheim or Chatsworth… it was built around the sense of family.”

There’s a quiet poetry in that

Because Downton Abbey, for all its aristocratic trappings, has always been a story about family; found, chosen, and inherited. As the final chapter approaches, it seems fitting that the last image released shows Lady Mary walking away, scarlet gown trailing, casting one last glance back. A signal, perhaps, that it’s time for all of us to do the same.

Downton Abbey: The Grand Finale will be released in UK cinemas on 12 September 2025.

Sam Harrington-Lowe

Sam is Silver’s founder and editor-in-chief. She’s largely responsible for organising all the things, but still finds time to do the odd bit of writing. Not enough though. Send help.

The post Downton Abbey bids a final farewell with “The Grand Finale” appeared first on Silver Magazine.

There are a number of films it was inevitable we were going to see listed in several categories, such as Barbie, Oppenheimer, Poor Things, and Killers of the Flower Moon. Here’s the full list of Oscars nominations for 2024, it all its glory.

A huge congratulations to all the nominees. We’ll be excited to watch this event unfold, as always. The 96th Academy Awards will air live on ABC on Sunday, 10th March 2024.

Read our interview with Michelle Yeoh, Brendan Fraser, Jamie Lee Curtis, and Ke Huy Kuan from backstage at the 2023 Oscars

Best picture

• American Fiction
• Anatomy of a Fall
• Barbie
• The Holdovers
• Killers of the Flower Moon
• Maestro
• Oppenheimer
• Past Lives
• Poor Things
• The Zone of Interest

Best actress

• Annette Bening – Nyad
• Lily Gladstone – Killers of the Flower Moon
• Sandra Huller – Anatomy of a Fall
• Carey Mulligan – Maestro
• Emma Stone – Poor Things

Best supporting actress

• Emily Blunt – Oppenheimer
• Danielle Brooks – The Color Purple
• America Ferrera – Barbie
• Jodie Foster – Nyad
• Da’Vine Joy Randolph – The Holdovers

Best actor

• Bradley Cooper – Maestro
• Colman Domingo – Rustin
• Paul Giamatti – The Holdovers
• Cillian Murphy – Oppenheimer
• Jeffrey Wright – American Fiction

Best supporting actor

• Sterling K Brown – American Fiction
• Robert De Niro – Killers of the Flower Moon
• Robert Downey Jr – Oppenheimer
• Ryan Gosling – Barbie
• Mark Ruffalo – Poor Things

Best director

• Anatomy of a Fall – Justine Triet
• Killers of the Flower Moon – Martin Scorsese
• Oppenheimer – Christopher Nolan
• Poor Things – Yorgos Lanthimos
• The Zone of Interest – Jonathan Glazer

Best adapted screenplay

• American Fiction
• Barbie
• Oppenheimer
• Poor Things
• The Zone of Interest

Best original screenplay

• Anatomy of a Fall
• The Holdovers
• Maestro
• May December
• Past Lives

Best original song

• The Fire Inside – Flamin’ Hot (Diane Warren)
• I’m Just Ken – Barbie (Mark Ronson, Andrew Wyatt)
• It Never Went Away – American Symphony (Jon Batiste, Dan Wilson)
• Wahzhazhe (A Song For My People) – Killers of the Flower Moon (Scott George)
• What Was I Made For? – Barbie (Billie Eilish, Finneas O’Connell)

Best original score

• American Fiction
• Indiana Jones and the Dial of Destiny
• Killers of the Flower Moon
• Oppenheimer
• Poor Things

Best international feature

• Io Capitano
• Perfect Days
• Society of the Snow
• The Teachers’ Lounge
• The Zone of Interest

Best animated feature

• The Boy and the Heron
• Elemental
• Nimona
• Robot Dreams
• Spider-Man: Across the Spider-Verse

Best documentary feature

• Bobi Wine: The People’s President
• The Eternal Memory
• Four Daughters
• To Kill a Tiger
• 20 Days in Mariupol

Best costume design

• Barbie
• Killers of the Flower Moon
• Napoleon
• Oppenheimer
• Poor Things

Best make-up and hairstyling

• Golda
• Maestro
• Oppenheimer
• Poor Things
• Society of the Snow

Best production design

• Barbie
• Killers of the Flower Moon
• Napoleon
• Oppenheimer
• Poor Things

Best sound

• The Creator
• Maestro
• Mission: Impossible – Dead Reckoning Part One
• Oppenheimer
• The Zone of Interest

Best film editing

• Anatomy of a Fall
• The Holdovers
• Killers of the Flower Moon
• Oppenheimer
• Poor Things

Best cinematography

• El Conde
• Killers of the Flower Moon
• Maestro
• Oppenheimer
• Poor Things

Best visual effects

• The Creator
• Godzilla Minus One
• Guardians of the Galaxy Vol. 3
• Mission: Impossible – Dead Reckoning Part One
• Napoleon

Best live action short

• The After
• Invincible
• Knight of Fortune
• Red, White and Blue
• The Wonderful Story of Henry Sugar

Best animated short

• Letter to a Pig
• Ninety-Five Senses
• Our Uniform
• Pachyderme
• War Is Over! Inspired by the Music of John & Yoko

Best documentary short

• The ABCs of Book Banning
• The Barber of Little Rock
• Island In Between
• The Last Repair Shop
• Nǎi Nai and Wài Pó

Read the Academy digital magazine

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The post The full list of Oscars nominations for 2024 appeared first on Silver Magazine.

Not going out? Can’t hack the jump scares of a traditional horror film? You can still mark the season and get into the Halloween spirit with one of these Halloween films that aren’t scary.

Place your bets now as to how many Tim Burton movies made it onto the list…

Beetlejuice (1988)

First Tim Burton film up on the list. A new born ghost couple seek ‘bio-exorcist’ Beetlejuice’s help to scare off the new occupants of their house.

Corpse Bride (2005)

Tim Burton’s stop-motion spooky story following groom Victor, who stumbles upon the corpse bride Emily, who’s desperate for love.

The Addams Family (1991)

Follow the much-loved kooky characters, and a plot to steal their wealth.

Addams Family Values (1993)

A sequel well worth the watch. This one features Wednesday getting up to her own tricks at summer camp.

Practical Magic (1998)

Witch sisters, played by Sandra Bullock and Nicole Kidman, deal with a curse on their family that dooms any man whom the witches fall for.

Ghostbusters (1984)

It’s a classic for a reason. 

Little Shop of Horrors (1986)

Musical comedy of a florist who finds a carnivorous plant that thirsts for human blood, and pressures it’s keeper into committing some less than favourable acts…

Roald Dahl’s The Witches (2020)

A remake of The Witches, starring Anne Hathaway. An orphaned boy has to find a way to stop the child-hating witches who’ve arrived in town, all whilst scampering around as a mouse.

Zombieland (2009)

Comedy set in a newly Zombie infested America. Learn college student Columbus’ (Jesse Eisenberg) rules for staying alive in Zombieland.

Dark Shadows (2012)

Another Tim Burton but with more of a comedy feel. Barnabas is cursed by a witch in 1760, turning him into a vampire. After being buried alive by the town, he awakens centuries later to find himself forced into navigating a very different world, in 1972. 

Death Becomes Her (1992)

Satirical black comedy where ageing actress, played by Meryl Streep, finds the answer to immortality in order to continue her career.

Alice in Wonderland (2010)

Rounding the list off with one last Tim Burton film. A suitably darker retelling of Alice and Wonderland, where Alice returns to wonderland as a young woman and finds herself at the centre of the war between the Red Queen and White Queen.

Alternative, if you do like a bit of a scare… 8 of the best horror films to watch this Halloween

Lana Hall

Lana can usually be found spinning her collection of records, or writing odd poems in her phone notes. Her mixer of choice is a ginger beer, and you’ll never find her away from the sea for more than a few weeks.

The post 12 Halloween films that aren’t scary (well, not too much) appeared first on Silver Magazine.

In case you hadn’t noticed, the 95th Academy Awards has caused quite the stir. Not Will Smith level, obviously. But this year was not without drama; one suspects that with actors, this comes with the territory.

It’s a shame to see Angela Bassett miss out again, but we’re thrilled for Jamie Lee Curtis, 64. Brendan Fraser, 54, is having the season of HIS ACTUAL LIFE. And Ke Huy Quan, 51, was probably the most excited winner we’ve ever seen. 

I don’t normally add ages to an article like this unless it’s relevant, but I feel it’s relevant. Because this year’s awards has seen a definitive rise in older winners. Michelle Yeoh, 60, summed it all up when she said, “…don’t let anybody tell you you are ever past your prime. Never give up!”

You don’t need us to run down the full list of who won what by now. If you’re a fan, if you love the glam, you’ve already watched it, checked out the coverage, drooled over the fashion images.

What I’d like to do here is shine a light on the four winners above. We managed to bag backstage chats with them all. And if you’re a Silver regular, you’ll know what’s coming next. Yeah – these are not youngsters. This is not their first time at the rodeo, to coin a phrase.

Oscar winner Michelle Yeoh: we broke that glass ceiling

13th Mar, 2023. Michelle Yeoh arriving at the Vanity Fair Oscar Party 2023, Los Angeles. Credit: Doug Peters/Alamy Live News

Michelle Yeoh has been celebrating winning the Actress in a Leading Role award at the Oscars. The Malaysian actress received the golden statuette at the 95th Academy Awards for her performance in ‘Everything Everywhere All at Once’.

Michelle beat Cate Blanchett [‘Tár’], Ana de Armas [‘Blonde’], Michelle Williams [‘The Fabelmans’] and Andrea Riseborough [‘To Leslie’].

On collecting her award, Michelle said: “Thank you. Thank you. For all the little boys and girls who look like me watching tonight—this is a beacon of hope and possibilities. This is proof that—dream big, and dreams do come true. And ladies, don’t let anybody tell you you are ever past your prime. Never give up!”

There’s more to the speech, but we wanted to pin down Michelle for a chat…

Backstage at the event…

Lucy: Congratulations Michelle. What does this win mean to you in terms of Asian representation within the entertainment industry?

“…tonight we freaking broke that glass ceiling. I Kung Fu’d it out and shattered it.”

MICHELLE YEOH: This is actually a historical moment, and I have to thank the Academy for acknowledging, embracing diversity and true representation. I think this is something that we have been working so hard towards for a very long time, and tonight we freaking broke that glass ceiling. I Kung Fu’d it out and shattered it, and we need this because there are so many who felt unseen, unheard. It’s not just the Asian community. This is for the Asian community and for anyone who has been identified as a minority. 

L: Have you ever felt like taking a step back from acting? And because you stayed, what advice would you give to people who are afraid to take up space?

MICHELLE YEOH: You should never be afraid. If this is your passion, this is your love, you have to stand up for yourself and for what you believe in and for what you want to do. I think that is what it is. I’m still here today. Finally, after 40 years, I get this. 

It just goes to show, we will  we will win the battle. And that’s what we’re doing. So don’t give up. Never give up. Because once you give up, then it’s a loss. It’s a total loss, right? So, yes, don’t let anybody put you in a box. 

“So don’t give up. Never give up. Because once you give up, then it’s a loss.”

Dare to dream. Because if you don’t dream, then it’s impossible. But nothing is impossible. Look at me, I’m here.

L: So, yesterday was exactly a year ago when ‘Everything Everywhere all at Once’ premiered. Can you take us back to that day last year and refer to that day to how you are feeling today, with all this success today?

MICHELLE YEOH: It’s been quite a marathon, hasn’t it? For the cinema that we want a collective experience where we want to enjoy, share that laughter, crying, or whatever it is together. That is what the magic of being at the movies at South by Southwest, it was the first actual – not streaming, not virtual – festival. And we were so blessed that everyone came, and we were blown away. Because you know, you give your heart and soul to a movie, but there is never any guarantee… when you put it up in the sky, please don’t fall flat on your face, right? 

I swear to God, it’s you [viewers], all of you, because you made it interesting. They had to come to the cinemas to watch this crazy wacky movie. Because you didn’t want to be left out of the conversation. So in that way, thank you to all of you. You propelled our little gem of a film. Yes, we had a huge beating heart.

This movie has helped in communication. This movie has helped to open hearts between families, whether it’s husband and wife, daughters and mothers, daughters and fathers, but just simply family. And we never give up on each other. 

L: Mothers are a big feature for you. What is something that your mother told you or gave you that you’ve carried with you through this journey?

MICHELLE YEOH: I think mothers are very important to all of us because without them, none of us would be sitting in this room, to start off with. The most important thing is my mother has always instilled in me confidence. Taught me about love. Taught me about kindness and compassion. 

I’m not very, very good at that at times. Actually, the recent thing that she asked me to do is ‘Don’t wear pants to the Oscars.’ I think what mothers do is they’re constantly reminding you to be better. And they do it with love and they do it because they really want you to be better so you have more opportunities, and you will have a better life. And that for them, is their ultimate goal.

L: Thank you so much

MICHELLE YEOH: Thank you.

Brendan Fraser: I hope I can live up to this

12th Mar, 2023. Brendan Fraser walking on the red carpet at the 2023 Vanity Fair Oscar Party (Photo by Anthony Behar/Sipa USA) Credit: Sipa US/Alamy Live News

Brendan Fraser has won the Actor in a Leading Role award at the Oscars. The US actor received the golden statuette at the 95th Academy Awards for his performance in ‘The Whale’.

Brendan beat Austin Butler [‘Elvis’], Colin Farrell [‘The Banshees of Inisherin’], Paul Mescal [‘Aftersun’] and Bill Nighy [‘Living’].

On collecting his award, Brendan said: “So this is what the multiverse looks like! Oh my goodness!

“I thank the Academy for this honour and for our studio, A24, for making such a bold film. I am grateful to Darren Aronofsky for throwing me a creative lifeline and hauling me aboard the good ship, ‘The Whale’. It was written by Samuel D. Hunter who is our lighthouse. Gentlemen, you laid your whale hearts bare so that we could see into your souls like no one else could do. It is my honour to be named alongside you in this category.”

Backstage at the event, Brendan said:

L: Huge congratulations. This is such an amazing moment for you. How do you feel right in this moment? What does winning this award mean to you?

BRENDAN FRASER: I feel a bit light in the head. This is actually kind of heavy [referring to the statuette]. One arm might be longer than the other by the end of the evening. 

I guess it means that I’m going to have to find a job. I’m grateful for this because of the number of people who worked during a time of COVID that we all lived under, and we had to be very careful with one another to stay safe. And I think of all the films we’ve seen this year, there’s a secret ingredient, and my guess is that it’s that concern that we showed for one another and for the work that we do, because we all lived under an existential threat. 

We didn’t know if there would be a tomorrow. So going to make a film with this gravity just reinforced how important it is to perform as if it’s the first and last time you ever will. That’s all I’ve got.

L: What drew you to the role and how fulfilling this win is for you?

BRENDAN FRASER: Darren Aronofsky was going to make a film. Any actor is like a moth to the flame for that. And he told me that it was a story about a man who has been overeating and it’s harming him, and he’s very lonely, and he wants to reconcile with his child if he can. And that’s about all I knew. And, of course, he showed me the script. 

I was intensely moved by it, much in the same way, I learned, that Darren was when he first saw the stage play in New York ten years earlier that Sam D Hunter had written. Darren was quite forthright that this would be a challenging part just in terms of what it would take to create Charlie and his body, and luckily, he had now-Oscar winner Adrien Morot to do my makeup.

But it was my job to play Charlie from the inside out, and theirs to create him from the outside in.

L: Queer storytelling has come a long way since you starred in Gods and Monsters, which was also an Oscar-winning film. So how rewarding was it to bring a voice to a complicated queer character like Charlie? You have a lot of gay fans, the the gays love you! So…?

BRENDAN FRASER: I love you right back. Charlie is so much more than just a gay man. He’s a father, he’s an educator, he’s a truth seeker, and that he fell hopelessly, inconveniently in love with whomever is immaterial. He’s someone who found love, lost it, and then found it again. 

“Charlie is so much more than just a gay man. He’s a father, he’s an educator, he’s a truth seeker.”

I think that’s something that we can all take a page from. And know that with perseverance, if you put one foot in front of the other, like Charlie did, go to the light, believe me. If I can do it, you can too. Good things will happen.

L: What a year you’ve had. What was the first thought in your head when you heard your name called?

BRENDAN FRASER: This has been incredibly rewarding and affirming, and it’s given me a lesson in humility and gratitude. What did I hear when I first heard my name? I heard my name but I thought, ‘that can’t be right.’ But it was, so I guess I should get up there and say something quick!

Jamie Lee Curtis: Please don’t cancel me!

12th March, 2023. Jamie Lee Curtis posing for photos in the press room at the The 95th Academy Awards. (Photo by Sthanlee B. Mirador/Sipa USA) Credit: Sipa US/Alamy Live News

Jamie Lee Curtis won Best Actress in a Supporting Role award at the Oscars. The US actress received the golden statuette at the 95th Academy Awards for her performance in ‘Everything Everywhere All at Once’.

Jamie Lee beat Angela Bassett [‘Black Panther: Wakanda Forever’], Kerry Condon [‘The Banshees of Inisherin’], Hong Chau [‘The Whale’] and Stephanie Hsu [‘Everything Everywhere All at Once’].

On collecting her award, Jamie Lee said: “Stop. I have 45 seconds, and I promised Janet Yang I would do it well because I’m a good girl.”

She proceeded to thank her entire crew, her family, agents, team members and everyone who supports movies. It was quite the 45 seconds!

Read More: Getting candid: Interview with Jamie Lee Curtis

Backstage at the event, with Jamie Lee

L: Congratulations on this win, Jamie Lee

JAMIE LEE CURTIS: Thank you so much.

L: There are 65 women this year nominated for academy awards across various disciplines. How does it feel for you to be amongst that number?

JAMIE LEE CURTIS: Surreal and proud, and obviously I would like to see a lot more women being nominated so there’s gender parity in all the areas, in all the branches, and I think we’re getting there. We’re not anywhere near there. 

And of course, the inclusivity then that involves the bigger question, which is, how do you include everyone when there are binary choices, which is very difficult. And, as the mother of a trans daughter, I completely understand that and yet, to de-gender the category also I’m concerned will diminish the opportunities for more women, which is something I have also been working hard to try to promote. So it’s a complicated question, but I think the most important thing is inclusivity and more women. Basically, just fucking more women anywhere, anytime, all at once.

“I don’t believe in a world where there are a bunch of people up there looking down on us. I think we are them in our actions, and in our deeds, and in our ideas.”

L: You are everyone’s favourite nepo baby, as you said. Do you think your mum and dad are looking down on you tonight and smiling?

JAMIE LEE CURTIS: Well, let me just be honest. I don’t believe in a world where there are a bunch of people up there looking down on us. I think we are them in our actions, and in our deeds, and in our ideas, and then we build our own and then we give them to our children and that’s how the world goes on. So I am a product of them and I am a proud product of them. And I know they would be incredibly proud of me, of course. Thank you.

NEXT UP, THERE IS A VIRTUAL QUESTION…

JAMIE LEE CURTIS [completely misunderstanding the question!]: The virtual people don’t get shit. They don’t get food. They don’t get water. They’re at home. Their kids are screaming. Their husband’s cheating on them. They’re so bummed out. They want to be here with you people so bad.

[IT BECOMES CLEAR THAT THE QUESTION IS FROM AN ONLINE JOURNALIST]

JAMIE LEE CURTIS: Oh, excellent. Good. Good. Oh, you’re actually, I thought it was just sort of like a tweet. I didn’t realize there were people…. guys, don’t cancel me. Please do not cancel me because I assumed that your husband is cheating on you [laughs]. I literally thought when they said digital it was, like, a virtual that I thought it was a tweet question. Seriously. Do not ruin this moment for me. I cannot handle it if you cancel me now. Cancel me tomorrow. Just not tonight. Give me a break. I’m so sorry if I was insulting.

Q: How much Hungarian are you?

JAMIE LEE CURTIS: I can’t really show you on national television. How much am I? That’s very personal. I can sing that little song, (singing in Hungarian). I won’t sing to you people because Stephanie Hsu just sang, and she can sing; I can’t. Anyway, I love my Hungarian heritage.

Q: Can we consider this at least a semi-Hungarian Oscar?

JAMIE LEE CURTIS: Oh, yeah. The lower half. [Looks at statuette] Definitely the lower half.

L: Thank you so much.

JAMIE LEE CURTIS: Oh my goodness me. Now you people are going to hate me because I cracked wise. I’m so sorry. But I’m taking this really seriously. And this is the thrill of my life. And please don’t cancel me. Please. Thank you.

Ke Huy Quan: never forget where you came from

13th Mar, 2023. Ke Huy Quan walking on the red carpet at the 2023 Vanity Fair Oscar Party (Photo by Anthony Behar/Sipa USA) Credit: Sipa US/Alamy Live News

Ke Huy Quan has been celebrating winning the Actor in a Supporting Role award at the Oscars. The Vietnamese/American actor received the golden statuette at the 95th Academy Awards for his performance in ‘Everything Everywhere All at Once’.

Ke Huy Quan beat Barry Keoghan [‘The Banshees of Inisherin’], Brendan Gleeson [‘The Banshees of Inisherin’], Judd Hirsch [‘The Fabelmans’] and Brian Tyree Henry [‘Causeway’].

On collecting his award, Ke Huy Quan said: “Thank you. My mom is 84 years old. She is at home watching. Mom, I just won an Oscar.

“My journey started on a boat. I spent year in a refugee camp. And somehow, I ended up here on Hollywood’s biggest stage.

“They say, ‘Stories like this only happen in the movies.’ I cannot believe it’s happening to me.”

Backstage at the event, we caught up with Ke for a chat.

L: Congratulations!

KE HUY QUAN: “Thank you. Can you believe I’m holding one of these? This is so surreal. Wow.”

L: When you starred in ‘Goonies’ and ‘Indiana Jones’, you were credited as Jonathan Ke Quan. What does it mean to win an Oscar with your real name on it?

KE HUY QUAN: “When I started as a kid, I was you know, it was my birth name, Ke Huy Quan. And I remembered when it got really tough, my manager told me that maybe, you know, it would be easier if you were to have an American sounding name, and I was so desperate for a job that I would do anything. 

“And it’s insane that I at one point that I would, you know, try a different name, not the name that was given to me. But it can only show you how desperate I was to try to try to make things different. So when I decided to get back into acting, which was three years ago, the very first thing that I wanted to do was to go back to my birth given name, and to and tonight to see Ariana open that envelope and say ‘Ke Huy Quan,’ that was a really, really special moment for me. And then immediately I was so emotional. 

“But the first image that I had in my mind was my mom, was my mom, who is the reason why I am in America, who is the reason why I have a better life, I have all these opportunities. 

“Like I said in my acceptance speech, she sacrificed so much. She had a great life where we came from, and she gave all that up so that all her children, there’s nine of us, there’s nine of us, and every single one of them are so grateful to my parents. So yeah. And Dad [looks to the sky tearful] I hope you’re proud of me. So…”

L: How does it feel to call yourself an Oscar winner tonight and be here?

KE HUY QUAN: “Tonight, my family, a portion of them, I have a big family, flew in from Houston to be with me tonight. So that was really special. 

“And, during one of the commercial breaks, I ran up to Steven Spielberg, and he gave he a big hug. He put his arms around me and he said, ‘Ke, you are now an Oscar-winning actor.’ And hearing him say that meant the world to me, and I still cannot believe it. Yeah, I mean. Wow. Wow.”

“… my younger self would not know all the struggles that I went through to be here, because he was just having the time of his life being a kid, being on a set.”

L: if your younger self could be here now at the age of data and your younger Goonie brothers were here, what would they say to you right now?

KE HUY QUAN: “Well, my younger self would not know all the struggles that I went through to be here, because he was just having the time of his life being a kid, being on a set with, you know, on a pirate ship going down a water slide. 

“And, you know, right before this night started, Corey Feldman one of my Goonies brothers called. I was talking to Kerri Green and of course tonight, Jeff Cohen, who is my entertainment lawyer, is here tonight with me. He was in the audience. And that’s why I wanted to thank him because I love all of them so much, and every single one of them is so happy. Sean reached out, Josh, Martha, and, you know, we are always bonded you know, we’re family together. Goonies never say die.”

L: A lot of people think of you as a very positive person, relate to you in numerous ways. How do you just stay humble and true to yourself?

KE HUY QUAN: “It’s how I was brought up. It’s how I was taught and, also, that’s why I always say: Never forget where you came from, because if you forget that, then all humility goes out the window. I remember how difficult it was for me, so that’s why every time I walk on a movie set, I’m so grateful. This tonight was certainly wasn’t, you know, I didn’t think this was possible. But yeah, I don’t ever want to forget that, and I always want to I think it’s important to appreciate where you are. 

“Never forget where you came from, because if you forget that, then all humility goes out the window.”

“And I’m just so grateful. I’ve said this maybe some of you have heard it, you know, I didn’t think any of this would be possible. And God, it has been so crazy. All of a sudden my mind is drifting back to the days when I lost my health insurance during the pandemic when I couldn’t get a job. And you know, somebody asked me this earlier: Do I have anything planned? What am I doing next? I don’t know what I’m doing next. 

“All I know is, first thing tomorrow morning I’m going to call my agent because I remember when I was struggling, I would call my agent. I try not to bother him too much. But I would call him, you know, once every three months, once every six months, and I would say, ‘Hey, is there anything out there for me?’ And the answer would always be the same: ‘Oh, I’m so sorry. There’s nothing out there, but I’ll continue to look.’ So hopefully when I call my agent tomorrow, he will give me a different answer!”

L: Thank you

KE HUY QUAN: “Thank you so much. Thank you so much. I love you all. I love you all. I love you, love you, love you, love you.”

Read the Academy digital magazine

Edited for clarity. As told to Sam Harrington-Lowe

Sam Harrington-Lowe

Sam is Silver’s founder and editor-in-chief. She’s largely responsible for organising all the things, but still finds time to do the odd bit of writing. Not enough though. Send help.

The post Backstage chat at the Oscars – the big four appeared first on Silver Magazine.