Jennifer (Jessica Chastain) and Fernando (Isaac Hernández) are sharing a romantic moment in their house.Image via Teorema
It’s been a while since Jessica Chastain starred in a blockbuster tentpole, but it seems like she has settled into this new phase of her career where she works with critically acclaimed international filmmakers and headlines the occasional television series. The last time that Chastain starred in a big-budget studio movie, things didn’t turn out well at all. The Oscar-winner played the antagonist in Dark Phoenix, the critical and commercial disaster that effectively ended the X-Men franchise as we knew it. She then appeared in the globe-trotting espionage movie The 355, which performed poorly as well. Since then, however, Chastain has received critical acclaim for her performances in a handful of internationally produced arthouse projects, the most recent of which is showing signs of life on streaming.
The movie in question premiered in competition at the Berlin Film Festival last year, and was released theatrically in February. It follows a clandestine affair between a wealthy socialite and an undocumented Mexican ballet dancer, who’s played by Isaac Hernández. The movie marked Chastain’s second collaboration with Mexican director Michel Franco; together, they also worked on Memory, which premiered in competition at the 2023 Venice International Film Festival and also featured Peter Sarsgaard. Memory received positive reviews, and is now sitting at a “Certified Fresh” 85% score on the aggregator website Rotten Tomatoes. The site’s consensus reads, “A searingly powerful union of filmmaker and cast, Memory finds writer/director Michel Franco exploring complex, mature themes brought brilliantly to life by stars Jessica Chastain and Peter Sarsgaard.”
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
Jessica Chastain’s Erotic Thriller Is Sneaking Up the Streaming Charts
Franco and Chastain’s new film, Dreams, wasn’t as well-received. It currently holds a 52% score on Rotten Tomatoes, where the consensus reads, “Anchored by intense performances and charged intimacy, Dreams is a chilly yet compelling two-hander whose messy imperfections ultimately deepen its quietly tragic impact.” According to FlixPatrol, Dreams was among the most-watched movies on the domestic Starz chart this past week, when the leaderboard was topped by the Jason Statham-led action film Shelter. Chastain will next be seen in the controversially delayed Apple TV series The Savant, which was originally supposed to premiere in September 2025. She will also star in director Rob Savage‘s new horror movie, Other Mommy. Stay tuned to Collider for more updates.
Release Date
February 27, 2026
Runtime
95 Minutes
Director
Michel Franco
Writers
Michel Franco
Producers
Alexander Rodnyansky, Eréndira Núñez Larios, Michel Franco
