JENNIFER HUDSON GIVING MYSELF OVER PROFESSIONAL

JENNIFER HUDSON GIVING MYSELF OVER PROFESSIONAL

We are sitting down at a time when you’re each receiving widespread acclaim for your work, a time that must feel like a professional high point for each of you. “How do you define success? Your grandparents are alive,” she says with a wry laugh. As Dunst put it, after nearly two years of living and working in a pandemic, it is a time to be appreciative of things more important than movies. Palm Springs' Starry Film Awards Gala Canceled Due to COVID-19 SpikeĪt the gathering, old friends Stewart and Dunst embraced while everyone exuded gladness to be communing in person. “Welcome to the industry!” joked Jessica Chastain and Kristen Stewart to their younger cohort Emilia Jones as this year’s six participants on The Hollywood Reporter’s Actress Roundtable commiserated about overlooked labors of love (“Is anybody ever going to watch it?”), the degree to which fear drives their decisions ( Jennifer Hudson and Kirsten Dunst say no, Tessa Thompson and Stewart say no longer) and navigating COVID-19 to give some of the year’s most acclaimed performances.Ĭonvening at THR‘s headquarters in late October were: Chastain, star and producer of Michael Showalter’s The Eyes of Tammy Faye, in which she resurrects the infamous televangelist Tammy Faye Bakker Dunst, who brings to life a 1920s remarried mother tormented by her brother-in-law in Jane Campion’s The Power of the Dog Hudson, who channels Aretha Franklin in Liesl Tommy’s biopic Respect Jones, who portrays a hearing child of deaf parents in Sian Heder’s CODA Stewart, who inhabits Princess Diana in Pablo Larraín’s Spencer and Thompson, who plays a 1920s Harlem housewife reconnecting with an old friend passing as white in Rebecca Hall’s Passing.

Jennifer hudson giving myself over