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    Home » Lily Gladstone, First Native American Actress Nominee, Goes To Osage Country To Honor Oscar Nod

    Lily Gladstone, First Native American Actress Nominee, Goes To Osage Country To Honor Oscar Nod

    By SHOOTWednesday, January 24, 2024Updated:Tuesday, May 14, 2024No Comments1488 Views
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    This image released by Apple TV+ shows Lily Gladstone, center, in a scene from "Killers of the Flower Moon." (Apple TV+ via AP)

    By Jocelyn Noveck

    --

    Lily Gladstone knew she wanted to be somewhere special when the Oscar news came. And that somewhere was not home, watching on TV, but in Oklahoma with the Osage community, where the real-life version of her character lived and where Martin Scorsese's "Killers of the Flower Moon" is centered.

    "I decided that I wanted to be on the Osage reservation, should this news come in today," Gladstone said in an interview shortly after receiving her historic nomination for best actress, the first Native American so honored. "I wanted to be as close to Mollie Kyle and her family as I could be. So I'm here in Pawhuska, Oklahoma. Once things wrap up, I think I'm gonna load up and drive out to Fairfax and Gray Horse and pay my respects there."

    Meanwhile Gladstone's parents were FaceTiming her as the nominations were announced. She asked them not to show her the TV screen, but instead to focus on their own faces.

    "'Flip the camera around,'" she says she told her mother. "'I want to see your and dad's reactions!' And sure enough, I could kind of hear them starting to say my name, but then it just got drowned out by my parents cheering, and my dog started barking."

    Gladstone's nomination was hardly a surprise. The accolades for the 37-year-old actor's performance have been flowing since the film came out in October, and she won a Golden Globe earlier this month. She's had both time and opportunity to articulate what feels historic about this moment, and remains just as passionate.

    "It's what I've been saying this whole time and I still absolutely feel it," she said. "It happens to be that I'm carrying this honor right now … (but) it's all so long overdue. It's a real moment of restoration, placing Indigenous talent in these roles, spotlighting their humanity. … I think it is shattering a lot of stereotypes people have about Indigenous women, particularly Native American women."

    "We're taking our place where we belong," she said of Indigenous actors and storytellers. "And it's taken a long time to get here. But it's so necessary."

    Gladstone, who grew up between Seattle and the Blackfeet Reservation in Montana, and learned the Osage language for the film, added that the recognition comes "in a time where across the country, stories like this are getting buried, are being considered too woke." So she is gratified, she said, "to be in a film that cements this history in the public eye, that makes it accessible for people to see, to get inside of in a way that only film can bring you inside of, as brutal as it can be, as heartbreaking and challenging as it can be."

    "Killers of the Flower Moon," adapted from David Grann's real-life whodunit of the same name, focuses more than the book did on the relationship between Mollie and her husband, Ernest Burkhart (Leonardo DiCaprio), who loves her but somehow also participates in a sinister plot with his uncle (Robert De Niro , also nominated ) to eliminate her family and acquire their oil-rich land.

    But Gladstone pointed out that the film was not only about what she called the "horrible, complicated, skewed love" between Mollie and Ernest. It is also, she said, about "the love that Mollie and her community had for each other. The one that carries everybody forward."

    "We carry forward by passing our stories forward, by passing our sense of self and our knowledge forward, by adapting and growing," she said. "So having the story be passed forward on such a massive scale, I hope it just ignites a curiosity that maybe wasn't there before for most people."

    Whatever happens at the Oscars, Gladstone's upward trajectory has been swift. So what is next for her?

    "I've got some great things that I can announce soon," she said. "Some other things that I've been ruminating on for years with collaborators, with incredible filmmakers. And now there's definitely more green lights for those stories to progress. I'm just so incredibly blessed being a working actor, period. So to even make a living doing what I love feels like an immense win."

    Gladstone added she was "really excited for anything that's to come from it. As an actor and then, how I can help get other stories told that deserve to be out there. A lot of marginalized stories, and particularly in Indian country."

    Jocelyn Noveck is an AP national writer

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    Category:News
    Tags:Killers of the Flower MoonLily GladstoneOsage NationThe Road To Oscar



    Review: Writer-Director Ian Tuason Makes Feature Debut With “Undertone”

    Friday, March 13, 2026
    This image released by A24 shows Nina Kiri in a scene from "Undertone." (Dustin Rabin/A24 via AP)

    Writer-director Ian Tuason's feature debut, the sonic-driven horror "Undertone," has, at least at the outset, an appealingly stripped-down quality. The 30-something Evy Babic (Nina Kiri) lives with her dying, comatose mother (Michèle Duquet). The movie never leaves their small, two-story home. Upstairs, Evy's mother lies wordlessly in a bed. Downstairs, Evy, at 3 a.m. puts on headphones, sits in front of a microphone and calls up her paranormal podcast co-host Justin (Adam DiMarco's voice) to talk "all things creepy." It's a testament to Tuason's evident filmmaking talent that, with these bare bones, "Undertone" swells into a gripping and unsettling experience. This is a movie that summons many of its scares with a sudden boost in audio levels, the thunderous tick of a clock or the scream of … a tea kettle. It's even rated "R" not for bloodcurdling violence or satanic ghouls but, simply, "language." It's these subtle qualities that make "Undertone" a spare but deftly dense film and Tuason a filmmaker to watch. It's the movie's disappointing second half, though, that breaks its quiet spell. After conjuring a tapestry of tension through narrative drips, as well as literal ones, Tuason throws in the whole kitchen sink, drowning out "Undertone" with a cacophony of genre cliches. Ancient Christian lore is invoked, as are children's lullabies, and the riveting nuance of "Undertone" slips away in all the feedback. "I want it to be over," Evy tells Justin. "Is that a bad thing to say?" Evy's mother hasn't eaten in two days, and her emotional exhaustion is clear when she first connects with her London-based co-host. You might here be wondering if the movie digs into this guilt, but "Undertone" is better at leaving carefully placed clues than following... Read More

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