Shelley Duvall, the intrepid, Texas-born movie star whose wide-eyed, winsome presence was a mainstay in the films of Robert Altman and who co-starred in Stanley Kubrick’s “The Shining,” has died. She was 75.

Duvall died Thursday in her sleep at home in Blanco, Texas, her longtime partner, Dan Gilroy, announced. The cause was complications from diabetes, said her friend, the publicist Gary Springer.

“My dear, sweet, wonderful life, partner, and friend left us last night,” Gilroy said in a statement. “Too much suffering lately, now she’s free. Fly away beautiful Shelley.”

Duvall was attending junior college in Texas when Altman’s crew members, preparing to film “Brewster McCloud,” encountered her at a Houston party in 1970. They introduced the 20-year-old to the director, who cast her in “Brewster McCloud” and made her his protege.

Duvall would go on to appear in Altman films including “Thieves Like Us,” “Nashville,” “Popeye,” “Three Women” and “McCabe & Mrs. Miller.”

“He offers me damn good roles,” Duvall told The New York Times in 1977. “None of them have been alike. He has a great confidence in me, and a trust and respect for me, and he doesn’t put any restrictions on me or intimidate me, and I love him. I remember the first advice he ever gave me: ‘Don’t take yourself seriously.’”

Duvall, gaunt and gawky, was no conventional Hollywood starlet. But she had a beguilingly frank manner and exuded a singular naturalism. The film critic Pauline Kael called her the “female Buster Keaton.”

At her peak, Duvall was a regular star in some of the defining movies of the 1970s. In “The Shining” (1980), she played Wendy Torrance, who watches in horror as her husband, Jack (Jack Nicholson), goes crazy while their family is isolated in the Overlook Hotel. It was Duvall’s screaming face that made up half of the film’s most iconic image, along with Jack’s axe coming through the door.

Kubrick, a famous perfectionist, was notoriously hard on Duvall in making “The Shining.” His methods of pushing her through countless takes in the most anguished scenes took a toll on the actor. One scene was reportedly performed in 127 takes. The entire shoot took 13 months. Duvall, in a 1981 interview with People magazine, said she was crying “12 hours a day for weeks on end” during the film’s production.

“I will never give that much again,” said Duvall. “If you want to get into pain and call it art, go ahead, but not with me.”

Duvall disappeared from movies almost as quickly as she arrived in them. By the 1990s, she began retiring from acting and retreated from public life.

“How would you feel if people were really nice, and then, suddenly, on a dime, they turn on you?” Duvall told the Times earlier this year. “You would never believe it unless it happens to you. That’s why you get hurt, because you can’t really believe it’s true.”

Duvall, the oldest of four, was born in Fort Worth, Texas, on July 7, 1949. Her father, Robert, was a cattle auctioneer before working in law and her mother, Bobbie, was a real estate agent.

Duvall married the artist Bernard Sampson in 1970. They divorced four years later. Duvall was in a long-term relationship with the musician Paul Simon in the late ’70s after meeting during the making of Woody Allen’s “Annie Hall.” (Duvall played the rock critic who keeps declaring things “transplendent.”) She also dated Ringo Starr. During the making of the 1990 Disney Channel movie “Mother Goose Rock ‘n’ Roll,” Duvall met the musician Dan Gilroy, of the group Breakfast Club, with whom she remained until her death.

Duvall’s run in the 1970s was remarkably versatile. In the rugged Western “ McCabe & Mrs. Miller” (1971), she played the mail-order bride Ida. She was a groupie in “Nashville” (1975) and Olive Oyl, opposite Robin Williams, in “Popeye” (1980). In “3 Women,” co-starring Sissy Spacek and Janice Rule, Duvall played Millie Lammoreaux, a Palm Springs health spa worker, and won best actress at the Cannes Film Festival.

In the 1980s, Duvall produced and hosted a number of children’s TV series, among them “Faerie Tale Theatre,” “Tall Tales & Legends” and “Shelley Duvall’s Bedtime Stories.”

Duvall moved back to Texas in the mid-1990s. Around 2002, after making the comedy “Manna from Heaven,” she retreated from Hollywood completely. Her whereabouts became a favorite topic of internet sleuths. A favorite but incorrect theory was that it was residual trauma from the grueling shoot for “The Shining.” Another was that the damage to her home after the 1994 Northridge earthquake was the last straw.

To those living in Texas Hill Country, where Duvall lived for some 30 years, she was neither in “hiding” nor a recluse. But her circumstances were a mystery to both the media and many of her old Hollywood friends. That changed in 2016, when producers for the “Dr. Phil” show tracked her down and aired a controversial hourlong interview with her in which she spoke about her mental health issues. “I’m very sick. I need help,” Duvall said on the program, which was widely criticized for being exploitative.

“I found out the kind of person he is the hard way,” Duvall told The Hollywood Reporter in 2021.

THR journalist Seth Abramovitch wrote at the time that he went on a pilgrimage to find her because “it didn’t feel right for McGraw’s insensitive sideshow to be the final word on her legacy.”

Duvall attempted to restart her career, dipping her toe in with the indie horror “The Forest Hills” that filmed in 2022 and premiered quietly in early 2023.

“Acting again — it’s so much fun,” Duvall told People at the time. “It enriches your life.”

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AP Film Writer Lindsey Bahr contributed to this report

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This story corrects the first mention of “McCabe & Mrs. Miller.”

NEW YORK (AP) — After a historically bad first half of the year, the box office is suddenly booming.

“Despicable Me 4,” the Illumination Animation sequel, led the way over the holiday weekend with $75 million in ticket sales Friday through Sunday and $122.6 million since opening on Wednesday, according to studio estimates Sunday.

The Independence Day holiday weekend haul for the Universal Pictures release further extends the considerable box-office reign of the Minions, arguably the most bankable force in movies today. And it also kept a summer streak going for Hollywood.

Though overall ticket sales were down more than 40% from levels prior to the COVID 19 pandemic, heading into the summer moviegoing season, theaters have lately seen a succession of hits. After Sony’s “Bad Boys: Ride or Die” outperformed expectations, Pixar’s “Inside Out 2” rapidly cleared $1 billion in ticket sales worldwide, making it the first release since “Barbie” to reach that mark. Last weekend, the Paramount prequel “A Quiet Place: Day One” also came in above expectations.

With “Deadpool & Wolverine” tracking for a $160 million launch later this month, Hollywood’s summer is looking up.

“If you look at the mood of the industry about eight weeks ago, very different than today,” says Paul Dergarabedian, senior media analyst for Comscore. “The song says what a difference a day makes. What a difference a month has made.”

It helps to have the Minions at your disposal. Since first debuting in the 2010 original “Despicable Me,” each entry of the franchise — including two sequels and two “Minions” spinoffs — has been seemingly guaranteed to gross around $1 billion. The four previous movies all made between $939 million (2022’s “Minions: Rise of Gru”) and $1.26 billion (2015’s “Minions”) globally.

That run has helped give Illumination founder and chief executive Chris Meledandri one of the most enviable track records in Hollywood. “Despicable Me 4,” directed by Chris Renaud and Patrick Delage, returns the voice cast led by Steve Carell and Kristen Wiig and doubles down on more Minion mayhem. Reviews (54% fresh on Rotten Tomatoes) weren’t particularly good for the latest installment, which includes a witness protection plot and a group of Minions transformed into a superhero squadron. But in their 12-year run, little has slowed down the Minions.

“This is one of the most beloved franchises, quite frankly, in the history of film, and certainly animation,” said Jim Orr, distribution chief for Universal. “Chris Meledandri and Illumination have their finger on the pulse of what families and audiences around the world want to see.”

Family movies are powering the box office. “Despicable Me 4” performed strongly despite the still considerable drawing power of “Inside Out 2.” In its fourth weekend of release, the Pixar sequel added another $30 million domestically and $78.3 million overseas.

“Inside Out 2,” with $1.22 billion in ticket sales thus far, is easily the year’s biggest hit and fast climbing up the all-time ranks for animated releases. It currently ranks as the No. 5 animated release worldwide.

Instead of cannibalizing the opening weekend for “Despicable Me 4,” “Inside Out 2” may have helped get families back in the habit of heading to theaters.

“What happened, I think, is the release calendar finally settled into a nice rhythm,” said Dergarabedian, referencing the jumbled movie schedule from last year’s strikes. “It’s all about momentum.”

The continued strong sales for “Inside Out 2” were enough to put the film in second place for the domestic weekend. Last week’s top new film, “A Quiet Place: Day One,” slid to third with $21 million in its second weekend, with another $21.1 million from overseas theaters. That was a steep decrease of 60%, though the Paramount prequel has amassed $178.2 million worldwide in two weeks.

The run of hits has caused some studios to boost their forecasts for the summer movie season. Heading into the most lucrative season at theaters, analysts were predicting a $3 billion summer, down from the more typical $4 billion mark. Now, closer to $3.4 billion appears likely.

The weekend’s other top new release was Ti West’s “MaXXXine,” the third in a string of slasher films from A24 starring Mia Goth. In 2,450 locations, “MaXXXine” collected $6.7 million in ticket sales, a franchise best. The film, which follows “X” and “Pearl” (both released in 2022), stars Goth as a 1980s Hollywood starlet being hunted by a killer known as the Night Stalker.

Angel Studios, which last year released the unexpected summer hit “Sound of Freedom,” struggled to find the same success with its latest Christian film, “Sound of Hope: The Story of Possum Trot.” It debuted with $3.2 million.

Kevin Costner’s big-budget gamble, “Horizon: An American Saga,” didn’t do much to turn around its fortunes in its second weekend. The first chapter in what Costner hopes will be a four-part franchise – including a chapter two Warner Bros. will release in August – earned $5.5 million in its second weekend. The film, which cost more than $100 million to make, has grossed $22.2 million in two weeks.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Despicable Me 4,” $75 million.

2. “Inside Out 2,” $30 million.

3. “A Quiet Place Day One,” $21 million.

4. “MaXXXine,” $6.7 million.

5. “Bad Boys: Ride or Die,” $6.5 million.

6. “Horizon: An American Saga, Chapter 1,” $5.5 million.

7. “Sound of Hope: The Story of Possum Trot,” $3.2 million.

8. “Kaiki 2898,” $1.8 million.

9. “The Bikeriders,” $1.3 million.

10. “Kinds of Kindness,” $860,000.

The Pixar sequel collected $100 million in ticket sales in its second weekend, according to studio estimates Sunday, setting a new record for an animated movie in its follow-up frame in theaters. The previous best second weekend for an animated title was the $92 million for “The Super Mario Bros. Movie.” Only six movies ever have had better second weekends.

In just a week and a half, “Inside Out 2” has become 2024’s highest-grossing film to date with $724.4 million globally, including $355.2 million in U.S. and Canadian theaters. That passes the $711.8 million worldwide total of “Dune: Part Two.” “Inside Out 2” will likely blow through the $1 billion mark in about a week, which would make it the first film since “Barbie” to do so.

The extent of the “Inside Out 2” success startled Hollywood, which had grown accustomed to lower expectations as the film industry watched ticket sales this year slump about 40% below pre-pandemic totals, according to data firm Comscore, before “Inside Out 2” came along.

The record haul for “Inside Out 2,” though, recalled past years when $1 billion grosses were more commonplace for the Walt Disney Co. It is also a much-needed blockbuster for Pixar, which after experimenting with direct-to-streaming releases, reconsidered its movie pipeline and approach to mass-audience appeal.

Now, “Inside Out 2,” which dipped a mere 35% from its $154 million domestic debut, is poised to challenge “The Incredibles 2” ($1.2 billion) for the all-time top grossing Pixar release. It could also steer the venerated animation factory toward more sequels. Among its upcoming films is “Toy Story 5,” due out in 2026.

For theater owners, “Inside Out 2” could hardly have been more needed. But it also reminded exhibitors of how feast-or-famine the movie business has become in recent years. Since the pandemic, movies like “Barbie,” “Spider-Man: No Way Home” and “Top Gun: Maverick” have pushed ticket sales to record heights, but fallow periods in between box-office sensations have grown longer. Ticket sales over Memorial Day last month were the worst in three decades.

Some of 2024’s downturn can be attributed to release-schedule juggling caused by last year’s writers and actors strikes. The biggest new release over the weekend was Jeff Nichols’ motorcycle gang drama “The Bikeriders,” a film originally slated to open in 2023 before the actors strike prompted its postponement.

“The Bikeriders,” starring Jodie Comer, Austin Butler and Tom Hardy, came in on the high side of expectations with $10 million from 2,642 venues in its opening weekend. “The Bikeriders,” which cost about $35 million to produce, was originally to be released by Disney before New Regency took it to Focus Features last fall.

The strong business for “Inside Out 2” appeared to raise ticket sales generally. Sony Pictures’ “Bad Boys: Ride or Die” held well in its third week of release, collecting $18.8 million. It remained in second place. The “Bad Boys” sequel, starring Will Smith and Martin Lawrence, has grossed $146.9 million domestically thus far.

Next week, the sci-fi horror prequel “A Quiet Place: Day One” and Kevin Costner’s Western epic “Horizon: An American Saga — Chapter 1″ will hope some of the “Inside Out 2” success rubs off on them.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Inside Out 2,” $100 million.

2. “Bad Boys: Ride or Die,” $18.8 million.

3. “The Bikeriders,” $10 million.

4. “The Garfield Movie, $3.6 million.

5. “Kingdom of the Planet of the Apes,” $3.6 million.

6. “If,” $2.8 million.

7. “The Exorcism,” $2.4 million.

8. “Thelma,” $2.2 million.

9. “The Watchers,” $1.9 million.

10. “Ghost: Rite Here Rite Now,” $1.5 million.

NEW YORK (AP) — “Bad Boys: Ride or Die,” the fourth installment in the Will Smith-Martin Lawrence action comedy series, opened with an estimated $56 million in theaters over the weekend, handing Hollywood a much-needed summer hit and Smith his biggest success since he slapped Chris Rock at the Academy Awards.

Expectations were all over the map for “Ride or Die” given the dismal moviegoing market thus far this summer and Smith’s less certain box-office clout. In the end, though, the Sony Pictures release came in very close to, or slightly above, its tracking forecast.

“Ride or Die,” produced by Jerry Bruckheimer and directed by Adil El Arbi and Bilall Fallah, is Smith’s first theatrical test since his 2022 slap of Rock earned him a 10-year Oscar ban. The “Bad Boys” film was in development at the time and ultimately went forward with about a $100 million production budget.

Smith starred in the Apple release “Emancipation,” but that film — released in late 2022 — was shot before the slap and received only a modest theatrical release before streaming.

This time around, Smith largely avoided soul-searching interviews looking back on the Oscars and instead went on a whistle-stop publicity tour of red carpets from Mexico to Saudi Arabia, where he attended what was billed as the country’s first Hollywood premiere. The 55-year-old Smith, who for years was one of Hollywood’s most bankable stars, appeared on “The Tonight Show With Jimmy Fallon,” the YouTube series “Hot Ones” and on Friday, made a surprise appearance at a Los Angeles movie theater.

Given that “Bad Boys” trailed May disappointments like “Furiosa: A Mad Max Saga” and “The Fall Guy” – both of which struggled to pop with ticket buyers despite very good reviews – the “Ride or Die” opening counts as a critical weekend win for the movie business.

“The fact that a movie overperformed is the best possible news,” said Paul Dergarabedian, senior media analyst for Comscore. “It seems like all we’ve been doing over the past few weeks and almost since the beginning of the year, with a couple of exceptions, is try to figure out why seemingly well-marketed, well-reviewed movies have underperformed. This ignites the spark that the industry has been waiting for.”

“Ride or Die” still didn’t quite manage to match the opening of the previous “Bad Boys” film: 2020’s “Bad Boys for Life.” That movie, released in January 2020, debuted with $62.5 million. After the pandemic shut down theaters, it was the highest grossing North American release of that year, with $204 million domestically.

“Ride or Die” added $48.6 million internationally. Though reviews were mixed (64% on Rotten Tomatoes), audiences gave the film a high grade with an “A-” CinemaScore. Black moviegoers accounted for 44% of ticket buyers, the largest demographic.

In the film, which comes 29 years after the original, Smith and Lawrence reprise their roles as Miami detectives. The plot revolves around uncovering a scheme to frame their late police captain (Joe Pantoliano). In one of the movie’s most notable scenes, Lawrence slaps Smith and calls him a “bad boy.”

Movie theaters will need a lot more than “Bad Boys: Ride or Die,” though, to right the ship. Ticket sales are down 26% from last year and more than 40% below pre-pandemic totals, according to Comscore. A big test comes next weekend with the release of Pixar’s “Inside Out 2.” After sending several Pixar releases straight to Disney+, the studio has vowed a lengthy, traditional theatrical rollout this time.

Last weekend’s top film “The Garfield Movie,” slid to second place. Also from Sony, the family animated comedy collected $10 million in ticket sales over its third weekend, bringing its domestic gross to $68.6 million.

The weekend’s other new wide release, “The Watchers,” failed to click with moviegoers. The horror film, directed by Ishana Night Shyamalan, daughter of M. Night Shyamalan, is about a stranded 28-year-old artist in Ireland. Following poor reviews, the Warner Bros. release grossed $7 million in 3,351 theaters.

That allowed “If,” the Ryan Reynolds imaginary friend fantasy, to grab third place in its fourth weekend of release, bringing the Paramount Pictures cumulative domestic total to $93.5 million. Rounding out the top five was “Kingdom of the Planet of the Apes,” which added $5.4 million in its fifth weekend of release. It has grossed $150 million domestically and $360 million worldwide.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Bad Boys: Ride or Die,” $56 million.

2. ”The Garfield Movie,” $10 million.

3. “If,” $8 million.

4. “The Watchers,” $7 million.

5. “Kingdom of the Planet of the Apes,” $5.4 million.

6. “Furiosa: A Mad Max Saga,” $4.2 million.

7. “The Fall Guy,” $2.7 million.

8. “Lord of the Rings: The Fellowship of the Ring,” $2.4 million.

9. “Lord of the Rings: The Two Towers,” $1.9 million.

10. “The Strangers: Chapter 1,” $1.8 million.

Following its premiere Monday in Cannes, Steven Cheung, Trump campaign spokesperson, said in a statement that the Trump team will file a lawsuit “to address the blatantly false assertions from these pretend filmmakers.”

“This garbage is pure fiction which sensationalizes lies that have been long debunked,” Cheung said.

“The Apprentice” stars Sebastian Stan as Trump. The central relationship of the movie is between Trump and Roy Cohn (Jeremy Strong), the defense attorney who was chief counsel to Joseph McCarthy’s 1950s Senate investigations of suspected communists.

Asked about the Trump campaign’s statement Tuesday in Cannes, Abbasi told reporters: “Everybody talks about him suing a lot of people — they don’t talk about his success rate though, you know?”

But the Iranian Danish director also struck a less combative tone as he discussed the film at its festival press conference. He offered to screen “The Apprentice” for Trump and talk it over.

“I don’t necessarily think that this is a movie he would dislike,” said Abbasi. “I don’t necessarily think he would like it. I think he would be surprised, you know? And like I’ve said before, I would offer to go and meet him wherever he wants and talk about the context of the movie, have a screening and have a chat afterwards, if that’s interesting to anyone at the Trump campaign.”

In the film, Cohn is depicted as a longtime mentor to Trump, coaching him in the ruthlessness of New York City politics and business. Early on, Cohn aided the Trump Organization when it was being sued by the federal government for racial discrimination in housing.

“The Apprentice,” which is labeled as inspired by true events, portrays Trump’s dealings with Cohn as a Faustian bargain that guided his rise as a businessman and, later, as a politician. Stan’s Trump is initially a more naive real estate striver, soon transformed by Cohn’s education.

The film notably contains a scene depicting Trump raping his wife, Ivana Trump (played by Maria Bakalova). In Ivana Trump’s 1990 divorce deposition, she stated that Trump raped her. Trump denied the allegation and Ivana Trump later said she didn’t mean it literally, but rather that she had felt violated.

That scene and others make “The Apprentice” a potentially explosive big-screen drama in the midst of the U.S. presidential election. The film is for sale in Cannes, so it doesn’t yet have a release date.

“The good people have been quiet for too long,” he said. “So I think it’s time to make movies relevant. It’s time to make movies political again.”

Listing wars in Gaza, Ukraine and Sudan, Abbasi, whose previous film ” Holy Spider ” depicted a serial killer murdering women in Iran, warned of trouble ahead.

“In the time of turmoil, there’s this tendency to look inwards, to bury your head deep in the sand, look inside and hope for the best — hope for the best, hope for the storm to get away,” Abbasi said. “But the storm is not going to get away. The storm is coming. The worst times are coming.”

The film’s premiere unfolded while Trump’s hush money trial continued in New York.

NEW YORK (AP) — Ghost busting is still a good business.

“Ghostbusters: Frozen Empire” collected $45.2 million in ticket sales over the weekend, according to studio estimates Sunday, handing Sony Pictures the studio’s first No. 1 film since last summer.

The opening weekend for “Frozen Empire,” in 4,345 theaters, was nearly exactly the same as the $44 million launch for “Ghostbusters: Afterlife” in 2021. “Afterlife” rebooted the franchise with a sequel built around the descendants (Carrie Coon, Finn Wolfhard, Mckenna Grace) of Harold Ramis’ Egon Spengler, along with Paul Rudd’s seismologist Gary Grooberson.

Neither film has been a hit with critics, but audiences have been more receptive. “Frozen Empire” garnered a B+ CinemaScore from moviegoers, a tick down from the A- score for “Afterlife.” “Frozen Empire” isn’t assured of profitability, but it will hope for sustained business over spring break.

“Ghostbusters” films tend to make a low impact internationally. In 25 overseas markets, “Frozen Empire” added $16.4 million.

The latest “Ghostbusters” cost about $100 million to make. After Jason Reitman took over directing duties from his father, Ivan Reitman, to helm “Ghostbusters: Afterlife,” “Frozen Empire” is directed by Gil Kenan, co-writer of “Afterlife.”

Those two sequels took “Ghostbusters” in a more family-oriented, albeit PG-13 rated, direction, with original cast members Dan Aykroyd, Ernie Hudson and Bill Murray returning in supporting roles. After the 2016 female-led “Ghostbusters” prompted a backlash, Sony rebooted the franchise.

The weekend’s other new wide release was “Immaculate,” the horror film starring Sydney Sweeney as an American nun at a remote Italian convent. The film, released by Neon following a premiere at SXSW, debuted with $5.4 million on 2,354 screens. Sweeney’s ascending star power helped make “Anyone But You” one of the most successful rom-coms in years. But “Immaculate,” an independent production that cost less than $10 million make, isn’t getting the same bounce.

“The movie features the popular Sydney Sweeney, but horror movies are not cast-driven,” wrote David A. Gross for the consulting firm Franchise Entertainment Research. “They’re driven by the hook: the evil doll, the wicked smile, the invisible or silent presence, the found footage, the possessed child. That’s what terrifies the horror crowd. The hook is not completely clear here.”

The No. 2 spot went to “Dune: Part Two,” which continues to hold well. The Denis Villeneuve-directed sci-fi sequel starring Timothée Chalamet added $17.6 million in its fourth weekend of release, bringing the Warner Bros. release’s domestic total to $233.4 million. Overseas sales are just as strong, adding up to a $574.4 million worldwide haul.

After two weeks atop the box office, Universal’s “Kung Fu Panda 4” slid to third place with $16.8 million over its third weekend. The well-performing DreamWorks animated sequel is up to $133.2 million domestic. It debuted with $25.7 million in China, where the movies have historically been popular. When the 2008 “Kung Fu Panda” was released, its success partly inspired China to expand its own film production.

Estimated ticket sales are for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Ghostbusters: Frozen Empire,” $45.2 million.

2. “Dune: Part Two,” $17.6 million.

3. “Kung Fu Panda 4,” $16.8 million.

4. “Immaculate,” $5.4 million.

5. “Arthur the King,” $4.4 million.

6. “Late Night With the Devil,” $2.8 million.

7. “Imaginary,” $2.8 million.

8. “Love Lies Bleeding,” $1.6 million.

9. “Cabrini,” $1.4 million.

10. “Bob Marley: One Love,” $1.1 million.

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

After passing over arguably Hollywood’s foremost big-screen auteur for years, the Oscars made up for lost time by heaping seven awards on Nolan’s blockbuster biopic, including best actor for Cillian Murphy, best supporting actor for Robert Downey Jr. and best director for Nolan.

In anointing “Oppenheimer,” the Academy of Motion Pictures Arts and Sciences did something it hasn’t done for more than a decade: hand its top prize to a widely seen, big-budget studio film. In a film industry where a cape, dinosaur or Tom Cruise has often been a requirement for such box office, “Oppenheimer” brought droves of moviegoers to theaters with a complex, fission-filled drama about J. Robert Oppenheimer and the creation of the atomic bomb.

“For better or worse, we’re all living in Oppenheimer’s world,” said Murphy in his acceptance speech. “I’d like to dedicate this to the peacemakers.”

As a film heavy with unease for human capacity for mass destruction, “Oppenheimer” also emerged — even over its partner in cultural phenomenon, “Barbie” – as a fittingly foreboding film for times rife with cataclysm, man-made or not.

Sunday’s Oscars at the Dolby Theatre in Los Angeles unfolded against the backdrop of wars in Gaza and Ukraine, and with a potentially momentous U.S. election on the horizon. Awards for the documentary winner, “20 Days in Mariupol,” and best international film, “The Zone of Interest,” brought geopolitics into the Oscar spotlight.

The most closely watched contest went to Emma Stone, who won best best actress for her performance as Bella Baxter in “Poor Things.” In what was seen as the night’s most nail-biting category, Stone won over Lily Gladstone of “Killers of the Flower Moon.” Gladstone would have become the first Native American to win an Academy Award.

Instead, Oscar voters couldn’t resist the full-bodied extremes of Stone’s “Poor Things” performance. The win for Stone, her second best actress Oscar following her 2017 win for “La La Land,” confirmed the 35-year-old as arguably the preeminent big-screen actress of her generation. The list of women to win best actress two or more times is illustrious, including Katharine Hepburn, Frances McDormand, Ingrid Bergman and Bette Davis.

“Oh, boy, this is really overwhelming,” said Stone, who fought back tears and a broken dress during her speech.

Sunday’s broadcast had razzle dazzle, including a sprawling song-and-dance rendition of the “Barbie” hit “I’m Just Ken” by Ryan Gosling, with an assist on guitar by Slash and a sea of Kens who swarmed the stage.

But protest and politics intruded on an election-year Academy Awards. Late during the show, host Jimmy Kimmel read a critical social media post from former president Donald Trump.

“Thank you for watching,” said Kimmel. “Isn’t it past your jail time?”

Nolan has had many movies in the Oscar mix before, including “Inception,” “Dunkirk” and “The Dark Knight.” But his win Sunday for direction is the first Academy Award for the 53-year-old filmmaker. Addressing the crowd, Nolan noted cinema is just over a hundred years old.

“Imagine being there 100 years into painting or theater,” said Nolan, who shared the best-picture award with Emma Thomas, his wife and producer. “We don’t know where this incredible journey is going from here. But to know that you think that I’m a meaningful part of it means the world to me.”

Downey, nominated twice before (for “Chaplin” and “Tropic Thunder”), also notched his first Oscar, crowning the illustrious second act of his up-and-down career.

“I’d like to thank my terrible childhood and the academy, in that order,” said Downey, the son of filmmaker Robert Downey Sr.

“Barbie,” last year’s biggest box-office hit with more than $1.4 billion in ticket sales, ultimately won just one award: best song (sorry, Ken) for Billie Eilish and Finneas’ “What Was I Made For?” It’s their second Oscar, two years after winning for their James Bond theme, “No Time to Die.”

Protests over Israel’s war in Gaza snarled traffic around the Dolby Theatre in Los Angeles, slowing stars’ arrival on the red carpet and turning the Oscar’ attention toward the ongoing conflict. Some protesters shouted “Shame!” at those trying to reach the awards.

Jonathan Glazer, the British filmmaker whose chilling Auschwitz drama “The Zone of Interest” won best international film, drew connections between the dehumanization depicted in his film and today.

“Right now, we stand here as men who refute their Jewishness and the Holocaust being hijacked by an occupation which has led to conflict for so many innocent people, whether the victims of October the 7th in Israel, or the the ongoing attack on Gaza, all the victims, this dehumanization, how do we resist?”

A year after “Navalny” won the same award, Mstyslav Chernov’s “20 Days in Mariupol,” a harrowing chronicle of the early days of Russia’s invasion of Ukraine, won best documentary. The win, a first for The Associated Press and PBS’ “Frontline,” came as the war in Ukraine passed the two-year mark with no signs of abating.

Chernov, the Ukrainian filmmaker and AP journalist whose hometown was bombed the day he learned of his Oscar nomination, spoke forcefully about Russia’s invasion.

“This is the first Oscar in Ukrainian history, and I’m honored,” said Chernov. “Probably I will be the first director on this stage to say I wish I’d never made this film. I wish to be able to exchange this (for) Russia never attacking Ukraine.”

In the early going, Yorgos Lanthimos’ Frankenstein-riff “Poor Things” ran away with three prizes for its sumptuous craft, including awards for production design, makeup and hairstyling and costume design. “Poor Things” fared second best to “Oppenheimer,” with a total of four awards.

Kimmel, hosting the ABC telecast for the fourth time, opened the awards with an monologue that emphasized Hollywood as “a union town” following 2023’s actor and writer strikes, drew a standing ovation for bringing out teamsters and behind-the-scenes workers — who are now entering their own labor negotiations.

The night’s first award was one of its most predictable: Da’Vine Joy Randolph for best supporting actress, for her performance in Alexander Payne’s “The Holdovers.” An emotional Randolph was accompanied to the stage by her “Holdovers” co-star Paul Giamatti.

“For so long I’ve always wanted to be different,” said Randolph. “And now I realize I just need to be myself.”

Though Randolph’s win was widely expected, an upset quickly followed. Hayao Miyazaki’s “The Boy and the Heron” won for best animated feature, a surprise over the slightly favored “Spider-Man: Across the Spider-Verse.” Miyazaki, the 83-year-old Japanese anime master who came out of retirement to make “The Boy and the Heron,” didn’t attend the ceremony. He also didn’t attend the 2003 Oscars when his “Spirited Away” won the same award.

Best original screenplay went to “Anatomy of a Fall,” which, like “Barbie,” was penned by a couple: director Justine Triet and Arthur Harari. “This will help me through my midlife crisis, I think,” said Triet.

In adapted screenplay, where “Barbie” was nominated — and where some suspected Greta Gerwig would win after being overlooked for director — the Oscar went to Cord Jefferson, who wrote and directed his feature film debut “American Fiction.” He pleaded for executives to take risks on young filmmakers like himself.

“Instead of making a $200 million movie, try making 20 $10 million movies,” said Jefferson, previously an award-winning TV writer.

The Oscars belonged largely to theatrical-first films. Though it came into the awards with 19 nominations, Netflix was a bit player. Its lone win came for live action short: Wes Anderson’s “The Wonderful Story of Henry Sugar,” based on the story by Roald Dahl.

The win for “Oppenheimer” offered Hollywood a chance to celebrate despite swirling storm clouds in the film industry. Nolan’s film debuted last year just as actors joined screenwriters in a prolonged strike over streaming economics and artificial intelligence. The actors’ strike ended in November, but little of Hollywood’s unease subsided. Streaming has proved less lucrative for most studios not named Netflix.

But “Barbenheimer” was the kind of unplanned phenomenon Hollywood needs more of. The two films could also give a lift to the Oscar telecast, which has historically benefitted from having big movies in contention. The Academy Awards’ largest audience ever came when James Cameron’s “Titanic” swept the 1998 Oscars.

AP’s Ryan Pearson and Krysta Fauria contributed to this report.

“They’d say to me, ‘Hey kid, would you clean my airplane? I’ll give you a dime,’” Dwight, 90, recalls. But when he was 8 or 9, Dwight asked for more than a dime. He wanted to fly.

“My first flight was the most exhilarating thing in the world,” says Dwight, smiling. “There were no streets or stop signs up there. You were free as a bird.”

It would be years before Dwight entertained the idea of himself becoming a pilot. “It was the white man’s domain,” he says. But while in college, he saw in a newspaper, above the fold, an image of a downed Black pilot in Korea.

“I said, ‘Oh my God, they’re letting Black people fly,’” Dwight says. “I went straight to the recruitment office and said, ‘I want to fly.’”

With that decision, Dwight set in motion a series of events that would very nearly lead to him being among the first astronauts. As Dwight progressed through the Air Force, he was handpicked by President John F. Kennedy’s White House to join Chuck Yeager’s test pilot program at Edwards Air Force Base in California’s Mojave Desert.

That fabled astronaut breeding ground, site of “The Right Stuff,” might have turned Dwight into one of the most famous Americans and the first Black man in space. But at Edwards, Dwight was discriminated against even with Kennedy championing him. After Kennedy was assassinated, Dwight’s path to NASA disappeared and he was never selected for the space program. Dwight departed for civilian life and largely receded from history.

But in recent years, Dwight is finally being celebrated. The new National Geographic documentary “The Space Race,” which premieres Monday on National Geographic Channels and streams Tuesday on Disney+ and Hulu, chronicles the stories of Black astronauts — and their first pioneer, Dwight.

“When I left, everyone said, ‘Well, that’s over. We got rid of that dude. He’s off the map,’” Dwight said in an interview by Zoom from his home in Denver. “Now it comes back full force as one of these I-didn’t-know stories. It’s almost amusing to me that all this furor could come up. But I’m kind of glad it did because something happened here.”

It wasn’t until 1983 that the first African American, Guion Bluford, reached space. But two decades earlier, Dwight found himself at a fulcrum of 20th Century America, where the space race and the struggle for social justice converged.

In “The Space Race,” astronaut Bernard Harris, who became the first Black man to walk in space in 1995, contemplates what a difference it might have made if Dwight had become an astronaut in the tumultuous ’60s.

“Space really allows us to realize the hope that’s within all of us as human beings,” Harris says. “So to see a Black man in space during that period in time, it would have changed things.”

“Ed is so important for everyone who’s followed after, to recognize and embrace the shoulders they stand on,” says Lisa Cortés, who directed the film with Diego Hurtado de Mendoza . “There’s the history we know and the history that’s not had the opportunity to be highlighted.”

Dwight had experience at a young age with that. His father, known as Eddie Dwight, played in the Negro Leagues for the Kansas City Monarchs. He remembers sitting on Satchel Paige’s lap as a child — just one more connection to history running through Dwight’s life.

In 1957, when the Soviet Union launched Sputnik into orbit, it jolted its Cold War rival into action; NASA was formed the following year. But Dwight still wasn’t thinking about becoming an astronaut.

“Not in the slightest,” he says. “I thought these dudes going into space was the craziest thing I had ever heard in my life.”

But as the U.S. began pursuing a space program, political leaders were conscious of the image its astronauts could project of American democracy. The first astronauts, the Mercury Seven, were all male and white. In September 1961, Edward R. Murrow, then Director of the U.S. Information Agency, wrote to NASA administrator James Webb.

“Why don’t we put the first non-white man in space?” wrote Murrow. “If your boys were to enroll and train a qualified Negro and then fly him in whatever vehicle is available, we could retell our whole space effort to whole non-white world, which is most of it.”

When the Aerospace Research Pilot School was established that November, the White House urged the Air Force to select a Black officer. Only Dwight met the criteria, which included 1,500 hours of flying jet airplanes, a bachelor’s degree in science or engineering (Dwight graduated with an aeronautical engineering degree from Arizona State University in 1957) and three consecutive “outstanding” ratings from military superiors.

That November, Dwight received a letter out of the blue inviting him to train to be an astronaut. Kennedy called his parents to congratulate them.

“And I thought, ‘Hell no.’ Why in the world would I ruin a wonderful, career to go and hang out with these guys didn’t know what the hell they were doing at the beginning?” says Dwight. “NASA was only two-years-old and they were talking about putting a Black guy in space?”

But he joined up. While at Edwards, Dwight was celebrated on the covers of Black magazines like Jet and Sepia. Hundred of letters hailing him as a hero poured in. But in training, he was treated with hostility by officers who resented his inclusion in the program and the White House’s involvement.

“They were all instructed to give me the cold shoulder,” Dwight says. “Yeager had a meeting with the students and the staff in the auditorium and announced it — that Washington was trying to shove this N-word down our throats.”

Dwight describes one incident when he was the only pilot sent out to fly when film producers, along with Jimmy Stewart, came to the base to film the officers. He recounts private sessions with Yaeger “telling me how good the white guys were and how I shouldn’t be there.”

“All that kind of stuff didn’t really bother me,” Dwight says. “The mission was the main thing. What people didn’t know was that I was being handled out of the West Wing of the White House the whole time I was there. Either every day or every other day: ‘How’s it going? What’s happening? What do you need?’”

Yeager, who died in 2020, maintained Dwight simply wasn’t as good as the other pilots. In his autobiography, Yeager wrote: “From the moment we picked our first class, I was caught in a buzz saw of controversy involving a black student. The White House, Congress, and civil rights groups came at me with meat cleavers, and the only way I could save my head was to prove I wasn’t a damned bigot.”

The tensions were also described in Tom Wolfe’s “The Right Stuff.”

“Every week, it seemed like, a detachment of Civil Rights Division lawyers would turn up from Washington, from the Justice Department, which was headed by the president’s brother, Bobby,” wrote Wolfe. “The lawyers squinted in the desert sunlight and asked a great many questions about the progress and treatment of Ed Dwight and took notes.”

Dwight was among the 26 potential astronauts recommended to NASA by the Air Force. But in 1963, he wasn’t among the 14 selected. Dwight astronaut future took a more drastic turn when Kennedy was assassinated on Nov. 22, 1963.

“Everybody was wondering, ‘What’s going to happen with Dwight?’” says Dwight. “Everything changed.”

Kennedy was killed on a Friday. By Monday, Dwight says, he had papers in his mailbox shipping him out to Germany. He quickly met with Bobby Kennedy in Washington, who had the Pentagon cancel those orders. A day after that, he had papers sending him to Canada.

Ultimately, Dwight was stationed at Wright-Patterson in Ohio in January of 1964. He graduated the program and totaled some 9,000 hours of air time, but never became an astronaut. He left the Air Force in 1966.

Asked if he was bitter about his experience, Dwight exclaims, “God no!”

“Here you get a little 5-foot-four guy who flies airplanes and the next thing you know this guy is in the White House meeting all these senators and congressmen, standing in front of all these captains of industry and have them pat me on the back and shake my hand,” Dwight says. “Are you kidding me? What would I be bitter about? That opened the world to me.”

Dwight initially landed at IBM, then he started a construction company. In 1977, he earned his Master of Fine Arts in Sculpture from the University of Denver. Much of his work is of great figures from Black history such as Louis Armstrong, Duke Ellington and Barack Obama. Several of his sculptures have been flown into space, most recently one aboard the vessel Orion. NASA named an asteroid after him.

To the Black astronauts who followed in his footsteps, Dwight braved their path.

“When you talk to the other astronauts, it’s never about them. They all want to make sure you understand that for them to do their job, they needed the people who came before and paved the way for them,” says Hurtado de Mendoza. “For them, it was really important to include Ed in the story. They all had a story of when they first met Ed Dwight or the first time they heard about Ed Dwight.”

Dwight, with a little bemusement at how fate has worked out, acknowledges he’s proud to be considered a pioneer for Black astronauts.

“It’s good for them in that they didn’t have to go through this crap that I went through. It was a goddamn distraction. It’s like wanting to have eyes in the back of your head for all the stuff that was coming at you. I had to absorb that graciously,” Dwight says. “If I talked about it — ‘Oh, crybaby! You couldn’t do this and you couldn’t do that.’ That’s what would have happened if I stepped up to the mic and complained.”

But complaining wasn’t Dwight’s nature then, and it isn’t now, either. He’s not even mad at Yeager.

“This guy was being honest to what he was trained to do. The structure of his life, his culture, his personality, all were implanted in Chuck when he was a kid. He didn’t know anything about social liberalism. It was foreign to this man,” Dwight says. He adds: “That doesn’t make what they were doing right.”

Instead, Dwight is filled with gratitude. His one recommendation is that every congressman and senator be flown on a sub-orbital flight so they can see the Earth from above. Everyone, he thinks, would realize the absurdity of racism from that height.

“I’d advise everybody to go through what I went through, and then they’d have a different view of this country and how sacred it is,” Dwight says. “We’re on this little ball flying around the galaxy.”

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

NEW YORK (AP) — Apple has had its first box office flop.

“Argylle,” the $200-million star-studded spy thriller from Apple Studios, debuted with $18 million in ticket sales, according to studio estimates Sunday. The film, directed by Matthew Vaughn, managed to lead the weekend box office, but still found little interest from moviegoers.

Although Apple has been in the original film business since 2019 and won the Oscar for best picture with 2021’s “CODA,” the company has only recently produced its own lineup of big-budget releases. The first two — Martin Scorsese’s “Killers of the Flower Moon” and Ridley Scott’s “Napoleon” — could be called successful.

“Killers of the Flower Moon,” though not profitable with $156 million in global sales, was one of the most celebrated films of 2023 and is nominated for 10 Academy Awards. “Napoleon,” released in November, has raked in $219 million worldwide — also not enough to turn a profit. But both films raised Apple’s reputation as a home to top directors and prestige filmmaking.

The same can’t be said for “Argylle,” a twisty thriller starring Bryce Dallas Howard, Sam Rockwell and Henry Cavill. The movie was badly dinged by critics, who gave it a Rotten Tomatoes score of 35% “fresh.” Ticket buyers also gave it a thumbs down, with a C+ CinemaScore.

Apple has paired with traditional studios for each of those releases. Universal Pictures handled the rollout of “Argylle,” which opened in 3,605 North American venues and took in an additional $17.3 million in 78 international markets. Paramount handled “Killers of the Flower Moon,” while Sony steered “Napoleon.”

“Argylle,” with “Kingsman” director Vaughn at the helm, was made with aspirations of starting a new franchise. But one of its biggest talking points ahead of its release was conjecture that Taylor Swift might have been involved with the movie thanks to the prominent presence of argyle patterns and a cat in the promotional materials. Despite plenty of online discussion, Swift had no involvement in the film.

Second place on the weekend went to the Christian drama series “The Chosen.” The first three episodes of the fourth season of the series, which dramatizes the life of Jesus, played in 2,263 theaters. The Angel Studios release grossed $6 million Friday through Sunday.

On another quiet weekend in cinemas, the rest of ticket sales went mainly to holdovers and awards contenders.

Warner Bros.’ “Wonka,” in its eighth week, crossed $200 million domestically. After four weeks in theaters, Paramount’s “Mean Girls” crossed $100 million. “The Beekeeper,” from the Amazon MGM, neared $50 million in its fourth week.

Although many Oscar contenders hit theaters months ago, the top choices of those in theaters remain Cord Jefferson’s “American Fiction” ($15 million thus far for MGM), starring Jeffrey Wright, and Yorgos Lanthimos’ “Poor Things” ($28.2 million, plus $40.1 million overseas), starring Emma Stone.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Argylle,” $18 million.

2. “The Chosen,” $6 million.

3. “The Beekeeper,” $5.3 million.

4. “Wonka,” $4.8 million.

5. “Migration,” $4.1 million.

6. “Mean Girls,” $4 million.

7. “Anyone But You,” $3.5 million.

8. “American Fiction,” $2.3 million.

9. “Poor Things,” $2.1 million.

10. “Aquaman and the Lost Kingdom,” $2 million.

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

The film, a co-production between the AP and PBS’ “Frontline,” was shot during the first three weeks of the war in Ukraine, in early 2022. Chernov, a Ukrainian journalist and filmmaker, arrived in Mariupol one hour before Russia began bombarding the port city. With him were photographer Evgeniy Maloletka and field producer Vasilisa Stepanenko.

The images and stories they captured — the death of a 4-year-old girl, freshly dug mass graves, the bombing of a maternity hospital — unflinchingly documented the grim, relentless realities of the unfolding siege.

Their work, along with that of Lori Hinnant, last year won the Pulitzer Prize for public service and featured prominently in a Pulitzer for breaking news photography. Since the Sundance Film Festival premiere of “20 Days in Mariupol” a year ago, Chernov’s film has been hailed as one of the most important nonfiction films of the year. It’s also been nominated by the BAFTAs, the Producers Guild and the Directors Guild for best documentary, and the Academy also shortlisted it for best international film.

Meanwhile, the war in Ukraine is nearing the two-year mark. Fighting through the winter is mired along a 1,500-kilometer (930-mile) front line. In recent months, Russian aerial attacks have sharply increased civilian casualties.

The war in Ukraine and other conflicts, including the war between Israel and Hamas, have been particularly dangerous for journalists. In December, the International Federation of Journalists said 94 journalists were killed around the world in 2023 and almost 400 were imprisoned.

In “20 Days in Mariupol,” Chernov, Maloletka and Stepanenko are challenged not just by the artillery shells falling around them but by the Russian blockade of the city. Water, food supplies and, critically, the internet were cut from Mariupol days into the invasion. The journalists had to search for places to file their dispatches from, sending minutes of their hours of footage.

As documentary filmmaking has proliferated in recent years, news organizations have played prominent roles in Oscar-nominated documentaries. Last year, CNN Films won its first Oscar for the Alexei Navalny documentary “Navalny.” In 2022, the New York Times took its first Academy Award for the documentary short “The Queen of Basketball.” Last year, four New Yorker shorts received four Oscar nominations.

The Oscars are on March 10.