Cinema News: Highlights from our Feb. 12 issue

February 11, 2026 | View in browser

Wagner Moura, a lead actor Oscar nominee for

By Matt Brennan

Editor in Chief, The Envelope

With yesterday's Oscar nominees luncheon in the books, the marathon that is awards season is now entering the home stretch. But that doesn't mean there's no grist left for the mill, especially when it comes to those — like this week's cover subject, 73-year-old first-time nominee Delroy Lindo — whose names weren't necessarily on pundits' nominations predictions lists.

Through Feb. 26 we'll be more sharing stories like his, and many others, before Oscar voters cast their final ballots for the March 15 awards. I'll let my friend Glenn Whipp regale you with tales from his interview with "Sinners" star Lindo when he sends his next newsletter on Friday. In the meantime, read on for more highlights from this week's issue.

Digital cover story: Wagner Moura

Basking in the sun outside The Times newsroom ahead of his digital cover shoot last month, Wagner Moura seemed exceptionally relaxed about spending his Tuesday afternoon in El Segundo with a bunch of journalists. But don't let "The Secret Agent" star's easygoing personality fool you into thinking he's aloof in any way.

As contributor Lisa Rosen writes in her profile of the actor, he's unafraid to draw pointed comparison's between Kleber Mendonça Filho's acclaimed political thriller — nominated for four Oscars, including lead actor — and contemporary politics, from disgraced Brazilian President Jair Bolsonaro to federal agents in American streets.

"This is also a film about infamy, because he's being persecuted so unfairly," he tells Rosen, comparing his character's fate to that of Minneapolis residents Renee Good and Alex Pretti. After their deaths, he continues, "lies were spread about them online. It's so cruel, and so it's killing the person twice."

The many charms of Ethan Hawke

I had the pleasure of speaking with Hawke and his wife and producing partner Ryan Hawke at Sundance the day after the actor earned an Oscar nomination for "Blue Moon," so by the time I read contributor Margy Rochlin's delightful interview with him and the film's nominated screenwriter, Robert Kaplow, I could practically hear it in Hawke's voice: boyishly enthusiastic, slyly funny, politically and creatively engaged.

But I don't think you need to be intimately acquainted with Hawke, who also appeared on an Envelope digital cover last fall, to find him and Kaplow high-caliber raconteurs of the joys, and occasional indignities, of making independent films. "Sometimes you get to set and it's easy to shape the text to make it more your own. The process here was for me to get rid of Ethan," says Hawke. "It was to try and match the screenplay. I don't ever remember working as hard — or [director] Rick [Linklater] being as mean to me."

As far as hooking the listener to a story goes, Lorenz Hart, the loquacious lyricist that Hawke and Kaplow pay homage to in "Blue Moon," would be proud.

Inside the race for best editing

Oscar voters have occasionally been accused of making this award about the most editing instead of the best editing, but from the descriptions of this year's five nominees, I think we can safely say that whomever the winner ends up being, their achievement will have been genuinely outstanding.

As contributor Bill Desowitz discovered from his outreach to the editors of "F1," "One Battle After Another," "Marty Supreme," "Sentimental Value" and "Sinners," coping with trauma is the surprising through line among the disparate scenes the nominees themselves chose as most pivotal to their films. (Given the volume of the footage some of them waded through, they might be suffering it too.)

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