Amy Reiter

Anyone who has seen Jordan Peele’s horror/social-satire “Get Out” understands the intense appeal of Daniel Kaluuya. As Chris, a young black photographer who gets sucked into a racial nightmare — a “sunken place” — when he visits the family of his white girlfriend (Allison Williams), the British actor takes audiences to places that are honest and true and, for many, difficult and discomfiting.

The $4.5-million film has earned more than $252 million worldwide following its February release, been embraced by critics and is earning awards buzz, but its deeper success is the fresh perspective on race it has offered and the frank conversations about racism — the real horror at the film’s heart — it has stirred.

Energetically tucking into a passel of small plates in the funky, history-tweaking lounge at New York’s Beekman Hotel, SAG nominee Kaluuya, whose next movie is “Black Panther,” dives into just such a raw conversation with equal enthusiasm …

‘Get Out’ finally addresses a racial climate long not voiced, says star Daniel Kaluuya (Los Angeles Times)

“Regal” may be the word to describe Kristin Scott Thomas as she sits in the warmly lighted lobby of New York City’s Lowell Hotel sipping an espresso she ordered in French. Also “cosmopolitan,” “posh,” “chic”: An animal-print coat drapes across her shoulders like an exotic cape.

“Words are important to me,” the actress, most famous, perhaps, for her 1996 Oscar-nominated role in “The English Patient,” says, sometimes trying on several before settling on one she likes.

It was the script along with her admiration for the director and the woman she would be portraying that prompted Scott Thomas to overcome her initial reluctance to take the role as Winston Churchill’s wife, Clementine, in Joe Wright’s “Darkest Hour,” alongside a remarkable turn by Gary Oldman as Churchill. The film depicts Churchill’s early weeks as prime minister, his bold decision to stand firm against the Nazis and launch Operation Dynamo, the risky rescue of soldiers from Dunkirk, and points to the role Clementine’s support played at a pivotal moment in history.

Scott Thomas, as Clemmie, isn’t on the screen that much, but she makes the most of every moment, turning in a nuanced, elegant and deeply researched performance (she devoured biographies, consulted historians and spoke with surviving relatives) that adds emotional weight and depth …

‘Darkest Hour’ mirrors modern-day dangerous times, says Kristin Scott Thomas (Los Angeles Times)