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Charles Melton was honored at the Critics Choice Celebration of Black, Latino & Aapi Achievements and broke down accepting his award.

Melton took his mother, Sukyong Melton, to the celebration, and during his acceptance speech for the Breakthrough Performance accolade for his work in May December, couldn’t hold back his emotions.

“I stand today in front of my mother,” Melton said before pausing and receiving applause from the audience. “You are my hero.”

After gathering himself and taking another deep breath, Melton continued, “Thank you critics. Your acknowledgment of my work is incredibly meaningful to me. I extend my deepest respect and appreciation to each and every one of you. Thank you again so much. Thank you to Netflix for all of their support.”

Charles Melton and Sukyong Melton

May December is a drama film directed by Todd Haynes from a screenplay by Samy Burch. The Netflix movie is based...

The official trailer for Todd Haynes’ upcoming film, May December, explores a twisted personal drama, reminiscent of the real-life scandal between former teacher Mary Kay Letourneau and her 13-year-old student, Vili Fualaau.

The film stars Natalie Portman as Elizabeth Berry, an actress who travels to Maine to spend time with the real-life character she’ll be portraying in an upcoming film, a disgraced former teacher who made tabloid headlines for her relationship with a young teen student.

Julianne Moore plays the teacher, Gracie Atherton-Yoo, who has since married and had kids with the now-grown student, Joe Yoo (Charles Melton), having given birth to one of their children while she was imprisoned for her crimes against the then-minor.

May December. (L to R) Julianne Moore as Gracie Atherton-Yoo and Natalie Portman as Elizabeth Berry in May December. — Photo: Francois Duhamel / courtesy of Netflix May December, L to R: Julianne Moore as...

Cannes darling “May December” has unveiled its first trailer starring Natalie Portman, Julianne Moore and Charles Melton. Directed by filmmaker Todd Haynes, the film first premiered back in May and is set for a limited theatrical release before hitting Netflix.

“May December” is based loosely on the true story of Mary Kay Letourneau, an American teacher charged with having a sexual relationship with one of her 12-year-old students. The film follows Hollywood actor Elizabeth Berry (Portman) who is tasked with portraying Letourneau stand-in Gracie Atherton-Yoo (Moore) on screen.

Elizabeth gets the chance to spend time with Gracie to better research her role, and delves into her convoluted family ties, a family that consists of Gracie, her young husband Joe Yoo (Melton) and the baby they conceived when was Joe was only 13 years old and Gracie gave birth to behind bars.

“May December” was written by screenwriter Samy Burch and also stars D.W. Moffett,...

"May December" reunites Natalie Portman and Julianne Moore in a film about a scandalous age gap in a relationship, with their characters dealing with the impending departure of their children. The film explores the conflicts surrounding the couple's age difference and the intrusion of a popular actress (played by Portman) into their lives. Todd Haynes directs this highly anticipated film, which marks Portman's long-awaited return to the big screen after taking a break from Hollywood, while Moore has been actively starring in multiple projects.

Todd Haynes reunites Academy-Award winners Natalie Portman and Julianne Moore for his next movie, May December, coming to Netflix on December 1st, after its premiere at the Cannes Film Festival back in May.

The story centers on Moore's character, Gracie Atherton-Yoo and her husband Joe Yoo, whose relationship caused an enormous scandal due to the couple's 23-year age difference. Two decades have passed since they were...

"May December" reunites Natalie Portman and Julianne Moore in a film about a scandalous age gap in a relationship, with their characters dealing with the impending departure of their children. The film explores the conflicts surrounding the couple's age difference and the intrusion of a popular actress (played by Portman) into their lives. Todd Haynes directs this highly anticipated film, which marks Portman's long-awaited return to the big screen after taking a break from Hollywood, while Moore has been actively starring in multiple projects.

Todd Haynes reunites Academy-Award winners Natalie Portman and Julianne Moore for his next movie, May December, coming to Netflix on December 1st, after its premiere on Venice Film Festival back in May.

The story centers on Moore's character, Gracie Atherton-Yoo and her husband Joe Yoo, whose relationship caused an enormous scandal due to the couple's 23 year age difference. 20 years have passed since they were at the eye of the storm,...

Todd Haynes has a way with female stars. I would even call him the new-age George Cukor in that regard. Whether in Carol with Cate Blanchett and Rooney Mara, or his HBO limited series Mildred Pierce with Kate Winslet, or his homage to the director of so many so-called “women’s pictures” of the ’50s Douglas Sirk in Far From Heaven with Julianne Moore, he seems to be in his comfort zone with women. That has never been more apparent than his latest, May December, a deliciously entertaining showcase for Natalie Portman and Moore (her and Haynes’ fourth film together), which just had its world premiere Saturday in competition at the Cannes Film Festival.

The title is fine, but watching the film I kept thinking a really great title for it from Hollywood’s past would have been Imitation of Life from the aforementioned Sirk, not that this movie has...

There’s a postmodernist horror movie about performance as predation hidden beneath the semiotician’s gaze in Todd Haynes’ May December, a complex drama that’s intrinsically intimate and yet also detached, at times almost clinical. The director is poking around in territory that’s familiar to him — self-knowledge and public perception, identity and duality, transparency and performance, social norms and the sexual outlaw. But the emotional volatility of the story ends up being somewhat muted by the approach, likely making this a tough sell beyond Haynes’ devoted admirers.

What will give the film a significant degree of traction, however, are the riveting performances of Natalie Portman and frequent Haynes muse Julianne Moore, as two women at cross purposes, one seeking to excavate the past and another who has spent two decades endeavoring to bury it. An astonishing monologue delivered by Portman into a mirror in particular demands to be seen.