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Box Office Top 20: 'Moana,' 'Fantastic Beasts' rule again

"Moana" and "Fantastic Beasts and Where To Find Them" continued to dominate the box office over the sleepy post-Thanksgiving weekend. In its second week in theaters, Disney's "Moana" scored the No. 1 spot again, bringing in $28.3 million and bumping its North American grosses to $119.8 million. In second place, Warner Bros.' Harry Potter spinoff "Fantastic Beasts" earned $18.1 million. In just three weeks in theaters, the film has earned $183.1 million.

The sci-fi pic "Arrival," meanwhile, continues to perform well after four weeks in theaters, adding $7.3 million to its total for a third-place finish.

"Allied" and "Doctor Strange" rounded out the top five with $7 million and $6.7 million, respectively, while new opener "Incarnate" debuted in ninth with a lower-than-expected $2.5 million.

The top 20 movies at U.S. and Canadian theaters Friday through Sunday, followed by distribution studio, gross, number of theater locations, average receipts per location, total gross and number of weeks in release, as compiled Monday by comScore:

1. "Moana," Disney, $28,270,989, 3,875 locations, $7,296 average, $119,786,319, 2 weeks.

2. "Fantastic Beasts And Where To Find Them," Warner Bros., $18,118,111, 3,988 locations, $4,543 average, $183,080,514, 3 weeks.

3. "Arrival," Paramount, $7,267,029, 2,915 locations, $2,493 average, $73,045,543, 4 weeks.

4. "Allied," Paramount, $7,026,066, 3,160 locations, $2,223 average, $28,903,498, 2 weeks.

5. "Doctor Strange," Disney, $6,684,552, 2,935 locations, $2,278 average, $215,507,729, 5 weeks.

6. "Trolls," 20th Century Fox, $4,688,393, 3,156 locations, $1,486 average, $141,459,838, 5 weeks.

7. "Hacksaw Ridge," Lionsgate, $3,341,027, 2,494 locations, $1,340 average, $57,205,983, 5 weeks.

8. "Bad Santa 2," Broad Green Pictures, $3,286,338, 2,945 locations, $1,116 average, $14,287,381, 2 weeks.

9. "Incarnate," High Top Releasing, $2,534,884, 1,737 locations, $1,459 average, $2,534,884, 1 week.

10. "Almost Christmas," Universal, $2,532,050, 1,556 locations, $1,627 average, $38,179,200, 4 weeks.

11. "Manchester By The Sea," Roadside Attractions, $2,276,330, 156 locations, $14,592 average, $4,336,273, 3 weeks.

12. "The Edge Of Seventeen," STX Entertainment, $1,608,183, 1,608 locations, $1,000 average, $12,716,673, 3 weeks.

13. "Loving," Focus Features, $968,746, 446 locations, $2,172 average, $5,563,912, 5 weeks.

14. "Moonlight," A24, $845,817, 574 locations, $1,474 average, $9,826,173, 7 weeks.

15. "The Accountant," Warner Bros., $748,652, 608 locations, $1,231 average, $84,244,122, 8 weeks.

16. "Nocturnal Animals," Focus Features, $700,187, 127 locations, $5,513 average, $2,719,475, 3 weeks.

17. "Rules Don't Apply," 20th Century Fox, $543,058, 2,386 locations, $228 average, $3,310,713, 2 weeks.

18. "Believe," Freestyle Releasing, $477,387, 639 locations, $747 average, $477,387, 1 week.

19. "Bleed For This," Open Road, $295,675, 649 locations, $456 average, $4,847,865, 3 weeks.

20. "Jackie," Fox Searchlight, $278,715, 5 locations, $55,743 average, $278,715, 1 week.

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Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by 21st Century Fox; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC.

Jessica Williams, Cate Blanchett star in Sundance premieres

Former "Daily Show" correspondent Jessica Williams flexes her dramatic chops, Cate Blanchett pays homage to great 20th century artists and "Silicon Valley" star Kumail Nanjiani tells a very personal story in some of the films premiering at the 2017 Sundance Film Festival.

Festival programmers announced their selections for the documentary and narrative premiere sections Monday, which has launched films like "Boyhood," ''Manchester by the Sea" and "O.J.: Made in America."

As with many years, the Sundance premiere slate can be a place for well-known comedians to take a stab at more dramatic and serious roles.

In what's expected to be one of the breakout films and performances of the festival, comedian Jessica Williams stars in Jim Strouse's "The Incredible Jessica James," about a New York playwright recovering from a breakup and finding solace in a recent divorcee.

Nanjiani is another who might surprise audiences in "The Big Sick," which he co-wrote with his wife Emily V. Gordon and is based on their own courtship. He stars alongside Zoe Kazan in the Michael Showalter-directed pic.

The Festival also has films featuring veteran stars in different kinds of roles. Shirley MacLaine stars in "The Last Word," about a retired businesswoman who strikes up an unlikely friendship with a journalist (Amanda Seyfried) after writing her own obituary. Festival founder Robert Redford, too, is in Charlie McDowell's "The Discovery," about a world where the afterlife has been proven. Jason Segel and Rooney Mara also star.

Cate Blanchett re-enacts artistic statements of Dadaists, Lars von Trier and everyone in between in "Manifesto"; Michelle Pfeiffer and Kiefer Sutherland co-star in the drama "Where is Kyra"; and "Avengers" Jeremy Renner and Elizabeth Olsen re-team in the FBI crime thriller "Wind River," the directorial debut of "Hell or High Water" writer Taylor Sheridan.

"Bessie" director Dee Rees is also poised to be a standout with "Mudbound," a racial drama set in the post-WWII South and starring Carey Mulligan, Jason Clarke, Jason Mitchell and Mary J. Blige.

"It's quite topical to this time even though it's a period piece," said Festival Director John Cooper.

Among the documentaries premiering are a look at the Oklahoma City bombing from Barak Goodman; Stanley Nelson's examination of black colleges and universities, "Tell Them We Are Rising"; and Barbara Kopple's account of a champion diver who announces he is transgender, "This Is Everything: Gigi Gorgeous."

"The beauty of independent film is it's not a copycat world, unlike some of the Hollywood stuff where they follow trends," said Programming Director Trevor Groth. "Independent film has always been about originality and choice and something different."

The 2017 Sundance Film Festival runs from Jan. 19 through Jan. 29.

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This story corrects movie title to "The Big Sick."

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Online: www.sundance.org/festival

'Moonlight,' 'La La Land' separate from award season pack

In Hollywood's early but rapidly solidifying awards season, two films — radically different in tone and tune — have separated themselves from the pack: "Moonlight" and "La La Land."

"Moonlight," Barry Jenkins' lyrical coming-of-age tale, added to its already hefty haul on Sunday, taking best picture from the Los Angeles Film Critics Association . The group also gave best director to Jenkins, best supporting actor to Mahershala Ali and best cinematography to James Laxton.

Those three awards mirrored the picks last week by the LAFAA's East Coast corollary, the New York Film Critics Circle. But the New York critics ultimately chose Damien Chazelle's "La La Land" as the year's best film, whereas the LA critics had "La La Land" — a colorful ode to the group's hometown — as runner-up for best picture and best director.

Which film will have the edge in the coming weeks — when the more crucial industry groups begin ringing in with their awards — is an open question. "Moonlight," which also triumphed at the Gotham Awards, is perhaps the year's most critically celebrated film. Across three chapters, it follows a boy growing up black, gay and poor in Miami.

But "La La Land," starring Emma Stone and Ryan Gosling, is only just hitting theaters (it opens Friday). It has widely been seen as the best-picture front-runner since winning the audience award at the Toronto International Film Festival. While "Moonlight" is bracingly intimate, the song-and-dance "La La Land" is a starry, show-stopping crowd-pleaser.

"La La Land" is also likely to dominate in sheer number of nomination, thanks to its lead performances, high-level of craft and original songs. It was honored by the LA critics for the musical work of Justin Hurwitz, Benj Pasek and Justin Paul.

The only film that has rivaled either in the early awards is Kenneth Lonergan's "Manchester by the Sea." The National Board of Review bestowed its top award on the New England drama, and the film's star, Casey Affleck, has been the most common pick so far. (The LA critics, however, went with Adam Driver for Jim Jarmusch's "Paterson.")

And despite a crowded best-actress field, including Stone for "La La Land" and Natalie Portman for "Jackie," the early favorite has been French actress Isabelle Huppert, star of both "Elle" and "Things to Come." She was the choice of the LA and New York critics, as well as the Gotham Independent Film Awards.

Other films have been singled out elsewhere. The British Film Independent Awards on Sunday gave four awards to Andrea Arnold's road-trip odyssey "American Honey," including best film. (It also chose "Moonlight" as its best international independent film.)

Next week, the Golden Globe and Screen Actors Guild nominations will be announced, likely giving the current favorites additional momentum.

But a lot could still change, but the Feb. 26 Oscars are increasingly coming into view. They finally have their host, in Jimmy Kimmel, announced Monday. And in "La La Land" and "Moonlight," the night's finalists might already be decided, too.

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Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

Black film studio in Florida given historic landmark status

A north Florida movie studio that produced silent-era films catering to an African-American audience has been designated a National Historic Landmark.

Florida Secretary of State Ken Detzner on Monday said that Norman Film Studios in Jacksonville has been given the honor.

The studio is now owned by the city of Jacksonville, which is working to partially restore the studio.

The studio's late owner, Richard Norman, was among the first filmmakers to produce movies that catered to African-Americans in the 1920s.

The silent-era movies often starred African-American actors in positive, professional film roles, such as lawyers and pilots.

The National Historic Landmarks program honors places that are nationally significant or historic.

Jimmy Kimmel to host Academy Awards

The Oscars finally have a host: Jimmy Kimmel will emcee the 89th Academy Awards.

The late-night host will be presiding over the ceremony for the first time. Kimmel has been a regular awards host, having twice previously hosted the Emmy Awards (including its broadcast in September) and once led ESPN's ESPY Awards.

The selection of Kimmel gives ABC, home of the Oscars telecast, the choice the network had long sought. His "Jimmy Kimmel Live!" has previously followed ABC's Oscar broadcast. The network also has new muscle to flex; it signed a deal with the Academy of Motion Pictures in August to remain the Oscar broadcast home until 2028.

"Yes, I am hosting the Oscars," Kimmel said on Twitter. "This is not a prank. And if it is, my revenge on the academy will be terrible and sweet."

The academy waited much later than usual to name a host for the Feb. 26 ceremony. This year's show is being produced by veteran producer Michael De Luca and Jennifer Todd, president of Ben Affleck and Matt Damon's production company, Pearl Street Films. This is also their first time producing the Oscars.

The lengthy search has perhaps been a product of increasing pressure on the broadcast. Last year's show was hosted by Chris Rock and was dominated by backlash over its second straight year of all-white acting nominees. Its 34.3 million viewers marked an 11-year low for the telecast.

Whether Kimmel can spark a comeback will be a considerable test for the 49-year-old comedian. His Emmy Awards broadcast on ABC drew a mere 11.3 million viewers, a new low.

But ABC Television Group chief Ben Sherwood publicly lobbied for Kimmel. In September he said the network was "very hopeful that Jimmy will get" the Oscar hosting gig and that he had "elevated" the Emmys.

This year's Oscar favorites don't appear to feature the kind of big, popular films that can drive audiences to watch the awards. The top contenders — "Moonlight," ''La La Land" and "Manchester by the Sea" — have together totaled less than $15 million at the box office, though "La La Land" is yet to open.

'Last Tango in Paris' rape scene revelation sparks outrage

"Last Tango in Paris" is making headlines again 44 years after the controversial film came out. A recently unearthed video interview with Italian director Bernardo Bertolucci from 2013 has renewed interest, and outrage, over what happened to actress Maria Schneider on set during the infamous butter rape scene.

Bertolucci said that neither he nor Marlon Brando told Schneider of their plans to use the stick of butter during the simulated rape scene — a concept they came up with the morning of the shoot — because he wanted her to react "as a girl not as an actress." He wanted her, he said, to feel "the rage and the humiliation."

Schneider, who died in 2011 at age 58 after a lengthy illness, spoke a number of times about the scene between her, then aged 19, and Marlon Brando, then 48, even saying in a 2007 Daily Mail interview that she "felt a little raped" by her co-star and director.

"They only told me about it before we had to film the scene, and I was so angry," Schneider said. "I should have called my agent or had my lawyer come to the set because you can't force someone to do something that isn't in the script. But at the time, I didn't know that."

But despite Schneider's past comments, the video interview with Bertolucci struck a chord this weekend as it circulated on social media that the director was admitting that the scene was non-consensual.

Actress Jessica Chastain wrote on Twitter that she felt "sick" over the revelation that "the director planned her attack."

Filmmaker Ava DuVernay called it "inexcusable."

"As a director, I can barely fathom this. As a woman, I am horrified, disgusted and enraged by it," DuVernay wrote.

Chris Evans also expressed his rage and said it was "beyond disgusting," while Anna Kendrick weighed in that she "used to get eye-rolls" when she brought the incident up to people previously and that she was "glad at least it will be taken seriously now."

Some, like actress Jenna Fischer, took a more extreme stance, writing that "all copies of this film should be destroyed immediately."

Schneider, a relative unknown when she was cast in the film, said that the "whole circus" of suddenly being famous made her turn to drugs and she even attempted suicide a few times. She stayed friends with Brando until his death in 2004, but she said that "for a while we couldn't talk about the movie."

Bertolucci, however, did not maintain a relationship with Schneider. He said he knew she hated him for life in that interview two years after her death. And while he doesn't regret the scene, he said he does feel guilty about it.

Leftovers 'Moana,' 'Fantastic Beasts' rule box office again

Audiences came back for a second helping of "Moana" and "Fantastic Beasts and Where to Find Them" this weekend. Both family-friendly films topped the post-Thanksgiving box office charts, with "Moana" bringing in $28.4 million and "Fantastic Beasts" earning $18.5 million, according to studio estimates Sunday.

Disney's animated "Moana," in only its second weekend in theaters and second weekend at No. 1, has grossed $119.9 million, while Warner Bros.' Harry Potter spinoff "Fantastic Beasts" has earned $183.5 million in three weeks.

Paramount's sci-fi mindbender "Arrival" took third with $7.3 million, while the company's World War II spy thriller "Allied" placed fourth with $7.1 million. Disney and Marvel's "Doctor Strange" rounded out the top five with $6.5 million, bringing its domestic total to $215.3 million.

The weekend's only new opener, the micro-budget horror film "Incarnate," fell short of modest expectations and took in only $2.6 million. The film, which stars Carice van Houten and Aaron Eckhart, was expected to earn in the $4 million range.

"We are disappointed that we fell short of our goal and repeating the success of our previous releases," BH Tilt executive John Hegeman said. "The low-cost nature of the BH Tilt films and release model enables us to experiment and take risks, and we look forward to seeing what we can learn from this weekend for our future BH Tilt slate releases in 2017."

In limited release, the Jacqueline Kennedy biopic "Jackie," starring Natalie Portman in one of the year's buzziest performances, earned $275,000 from five theaters. Another awards contender, "Manchester by the Sea" expanded to 156 theaters and brought in $2.4 million.

Paul Dergarabedian, a senior media analyst for box office tracker comScore, said that this post-Thanksgiving weekend is usually pretty slow.

"The Thanksgiving holiday is a long, extended binge of eating food and watching lots of movies, and then this weekend is the diet. It is somewhat typical," Dergarabedian said. "It's like we're taking a quick breather before the homestretch."

The weekend overall is expected to be down about 3 percent from last year, which saw the Christmas-themed horror film "Krampus" rake in $16.3 million. But the box office for the year remains up around 4 percent.

The question now is whether or not the 2016 box office will surpass last year's record $11.135 billion. While there are still some big films on the horizon, including "Rogue One: A Star Wars Story" and the animated "Sing," it remains to be seen whether or not they will compete with the late-game 2015 juggernaut of "The Force Awakens," which earned $652 million in the last 14 days of the year.

"It's going to be a tight race," Dergarabedian said.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to comScore. Where available, the latest international numbers for Friday through Sunday are also included. Final domestic figures will be released Monday.

1."Moana," $28.4 million ($32 million international).

2."Fantastic Beasts and Where to Find Them," $18.5 million ($60.4 million international).

3."Arrival," $7.3 million ($4.8 million international0

4."Allied," $7.1 million ($12.1 million international).

5."Doctor Strange," $6.5 million ($3.7 million international).

6."Trolls," $4.6 million ($7.1 million international).

7."Hacksaw Ridge," $3.4 million ($1.8 million international).

8."Bad Santa 2," $3.3 million ($1 million international).

9."Incarnate," $2.6 million ($370,000 international).

10."Almost Christmas," $2.5 million.

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Estimated ticket sales for Friday through Sunday at international theaters (excluding the U.S. and Canada), according to comScore:

1. "Fantastic Beasts and Where to Find Them," $60.4 million.

2. "Your Name," $40.9 million.

3. "Moana," $32 million.

4. "Underworld: Blood Wars," $16.3 million.

5. "Allied," $12.1 million.

6. "Sully," $11.2 million.

7. "Miss Peregrine's Home for Peculiar Children," $10.5 million.

8. "Sword Master," $7.3 million.

9. "Jack Reacher: Never Go Back," $5.9 million.

10. "Arrival," $4.8 million.

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Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by 21st Century Fox; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC.

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Follow AP Film Writer Lindsey Bahr on Twitter at: http://twitter.com/ldbahr

"Rogue One" director Gareth Edwards has a cameo in the film

Director Gareth Edwards says he gave himself a cameo in the "Star Wars" spinoff "Rogue One: A Star Wars Story." But, as with most things "Star Wars," Edwards is staying mum on what exactly that entails.

The reveal, he said, might have to wait for the DVD extras.

Edwards is a self-proclaimed "Star Wars" super fan and has said that as a child he used to watch the first 10 minutes of the 1977 "Star Wars" every day before school.

"Rogue One" is set right before the events of that original film and chronicles the saga of the rebels who steal the plans for the Death Star. Arriving in theaters on Dec. 16, "Rogue One" is the first in a series of spinoffs set inside the universe of "Star Wars."

Disney teases 28 minutes of 'Star Wars' spinoff 'Rogue One'

The secretive "Star Wars" spinoff movie "Rogue One" just got a little more tangible.

Disney and Lucasfilm unveiled 28 minutes of footage for reporters on Friday at Skywalker Ranch, teasing the origin story of the band of rebels who aim to steal the plans for the Death Star — the event that sets into motion the plot of the original 1977 "Star Wars."

The footage skipped around in time and story line, but essentially sets up a world on the brink of rebellion. The Empire's agents are everywhere, with stormtroopers roaming the streets searching for dissidents.

We meet the protagonist, Jyn Erso, as a young child whose parents, Galen (Mads Mikkelsen) and Lyra (Valene Kane), are of particular interest to the Empire, and specifically Ben Mendelsohn's Director Orson Krennic. Without revealing anything else, it's the specific origin story that still eludes audiences when it comes to the most recent "Star Wars" heroine, Rey. But twists and turns seem to await spectators in "Rogue One," which finds a grown Jyn (Felicity Jones) in cahoots with the rebel alliance on a dangerous mission to try to stop the Empire from building their planet destroyer.

Director Gareth Edwards introduced the footage Friday, joking that they thought about showing 30 minutes but decided they needed to save something. The film was screened for the cast recently, but few have seen the final product, which will premiere Dec. 10 in Los Angeles before hitting theaters Dec. 16.

The highlight reel set the stage for many of the principle characters, like Diego Luna's street smart Alliance Captain Cassian Andor, Forest Whitaker's extremist Saw Gerrera and Donnie Yen's mysterious, blind Chirrut Imwe. It also established a world that will look quite familiar to anyone who's seen the 1977 "Star Wars." Costumes, characters, and sets from that first film — and some of the prequels — populate this universe, including Alliance leader Mon Mothma (Genevieve O'Reilly) and Bail Organa (Jimmy Smits) and a few other cheeky surprises.

"Rogue One" also takes audiences to planets and environs that aren't standard settings in "Star Wars" films, including a beach and a bustling marketplace.

"Rogue One: A Star Wars Story" is the first of three planned spinoff films set inside the "Star Wars" universe, including a young Han Solo film set for 2018. The so-called anthology films are separate from the main trilogy, which kicked off last year with "The Force Awakens," and will continue next year with "Episode VIII."

"We're on sacred ground here," Edwards said, pointing to a seat the middle of the theater where he said George Lucas would watch and edit his films.

Edwards said he pitched his vision for the film to Lucasfilm development executive Kiri Hart on the Skywalker Ranch campus.

Now that the film is finally finished, Edwards said the experience "feels like the end of something."

But, he added, "if you do 'Star Wars' right, it's more like the beginning."

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Follow AP Film Writer Lindsey Bahr on Twitter: www.twitter.com/ldbahr

Q&A: Sonia Braga plays the role of her life at 66

While female actors are fighting for more and better roles in Hollywood, Sonia Braga got the part of her life at 66 in Kleber Mendonça Filho's "Aquarius".

The Brazilian star is getting rave reviews for her portrayal of Clara, a widow and retired music critic reluctant to sell the seaside apartment that holds her most cherished memories. "Ms. Braga is a living embodiment of the glories of Brazilian cinema," said The New York Times. "A breathtakingly intuitive actress, she's beautifully aged into an aristocratically sensual physicality, and makes Clara's firmness mingle with tenderness," said Variety.

"When I got the screenplay it was one of the most beautiful gifts I was getting in my whole life," Braga told The Associated Press in a recent interview in New York, where she lives. "I was reading the best screenplay that I ever read. Every word made sense. Scene to scene made sense to me, through the end."

On top of that, "Kleber was giving me a movie that I was going to do in my mother tongue after 20 years working in the United States, I was going to be speaking in Portuguese again," she said. "I called him immediately. Well, I didn't call him IMMEDIATELY because I had to breathe before I could call."

"Aquarius " debuted last May at the Cannes Film Festival, where it was the only Latin American production competing for the Palm d'Or, and was recently nominated for an Independent Spirit Award. Although many considered it a natural contender for the foreign film Oscar, Brazil submitted David Schurmann's "Little Secret" instead, reportedly because of the "Aquarius" cast's protest against the interim administration of Brazil's Michel Temer at Cannes.

Braga said she and her cast-mates had no regrets about the protest and that she would do it over again without question. As Mendonça Filho put it, "Aquarius," which had a limited U.S. release in October and is still opening in different cities around the country, represents Brazil, regardless.

Braga talks more about the film, and her life:

AP: In the film Clara has gone through a lot, including breast cancer, yet she can be as subtle as strong. How was it to play such a complex character?

Braga: Clara and I would come from different places: she is academic, I am intuitive; she has a family and I'm not married, I don't have kids. So we had a lot to negotiate, but the basics of the character, it was there. So we're talking, Clara and I, but at the same time we are commemorating this opportunity that Kleber was giving us to play this for the audiences.

AP: Kleber said you were very generous with the cast and crew and that you were delighted to work with non-actors.

Braga: He said, "Sonia, there's something that I need to tell you: sometimes I work with non-actors". And I said, "Really? That's fantastic! Because I'm not an actress either!" He said, "What do you mean?" ''I'm scared of rehearsals, I'm scared of doing all this because I don't feel like I'm an actress. I never went to school for actors, I'm not academic, as a matter of fact academic actors intimidate me a little bit, so you are gonna work with people!" The way I see it, I belong to the film as any other department. I like visual arts, and what I love doing is participating in the making of it.

AP: It is very refreshing to see an actress leading in her 60s. Do you hope it will open the doors to more and better female roles?

Braga: Well, the doors are there, and they closed. A reporter told me it is very rare to see a woman of my age in the movies. Right! In the movies! But they have been for so long in very serious and important positions in life: scientists, prime ministers, candidates to be the president. ... There is a barrier with the languages also, and with the accents as well. Today we find many actors, they are Latin, they are Hispanic, they are living in the Unites States, they are American, but very rarely you find them in a lead role.

AP: It is evident from the movie how comfortable you feel in your own skin.

Braga: I did things in the movie that I usually don't do and that had a little anxiety about: I had to sing and I can't sing, unfortunately. I can't play the piano, and I cannot swim. But sex, I think I've been there before (laughs.) It's not so difficult to do. ... To be naked or even making love in a scene to me is very important if this is a movie about a couple or sensuality. It's a sort of moralism to think that this shouldn't be seen in the film. When was it that people decided as a society that your body is in one place and your sexuality in another place, something like a hat, or a coat, that when you leave home you hang it and when you come back home you say, "Ah! Let's wear my sexuality! I might wear it tonight"? It is something that belongs to your body. Women at my age they are making love, they are feeling sensual, they flirt, they have boyfriends, they have a sexual life. They are just not being represented in the movies.

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Follow Sigal Ratner-Arias on Twitter at: https://twitter.com/sigalratner

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