The film focuses on successful novelist Delphine (Emmanuelle Seigner who soon starts receiving anonymous letters accusing her of exposing her family to the public. Suffering from depression and writer’s block, Delphine meets and begins a romance with a mysterious younger woman (Eva Green) who understands Delphine better than anyone else.

Eva Green talks about her role in the film, sexual harassment and the director Polanski.

“Based on a true story” , by Roman Polanski, is your first French film since 2004. You are perceived as a French actress who works in Hollywood

That’s an illusion. By the way, most of the American films I have played in were shot in London, where I live. There has never been anything deliberate.

So you are not disenchanted with French cinema?

No, even if French cinema may have thought I snubbed it. I say to myself, in retrospect, that if I did make known my desire to shoot in France earlier, it was to mark a distance with my mother (actress Marlene Jobert).

What made you decide to do this movie?

Polanski sends you a screenplay, which is written by Olivier Assayas … how not to read it? But it was also the rare opportunity of a film built on a relationship between two women, with a fuzzy character, ghostly … You never know if this girl exists, even I don’t know – she may not be a projection. I had to be all that Delphine (Seigner) is missing. I worked a very particular diction, I speak a little like a book, like an inner voice.

You joined a filmmaker and his wife on the set. How did you find a place in this equation?

At first I worried there would be creates favouritism or tension but it was the opposite. Polanski treats everyone the same way, from the technicians to the star.

The film is based on Emmanuelle Seigner and you. Did you know each other?

Absolutely not. First day, first scene, Roman asks me to push her to the end, to dominate her. And then, we make the film in two, mirroring, wedging one on the other, in a fusional way.

Your mother spoke about the Weinstein affair, revealing that he had harassed you …

I did not know that my mother intended to speak. (Silence.) It’s very difficult to talk about that. It is positive that women have finally managed to make themselves heard on this subject. On Harvey Weinstein, it’s a little late. But the subject is larger, and if women are heard in all the professional circles, maybe we can put an end to harassment. As far as I’m concerned, I’m not going into details, not here, not now.

Did you expect this total fall from grace?

Everyone knew it in the trade. And I’m glad it happens. It is an abuse of power. He is a sick person.

Roman Polanski himself is accused of rape, dating back to the 1970s. Does that complicate your position?

No. Because he has always been very correct with me. That’s why I can face the promotion for this film. I did not forbid any questions . I do not try to defend him, I just know he has always behaved with me with great kindness.

From classic white to fire engine red, with shades of teal, fuchsia, powder blue and lavender mixed in, here are some highlights of the style parade on Tinseltown’s biggest night:

White-hot

White is associated with the suffragette movement, and on Sunday, many of Hollywood’s top stars embraced it.

“Get Out” star Allison Williams was one of the first stars on the red carpet and her look was killer — a cream beaded Armani princess gown with sheer cap sleeves that earned raves in the Twitterverse.

Jane Fonda also embraced the ice princess look, looking fabulous at age 80 — !! — in a sculpted white Balmain gown with a geometric neckline.

Laura Dern — who joined the “Star Wars” family last year in “The Last Jedi” and will present an award on Sunday with her co-stars — wowed red carpet watchers in a Calvin Klein gown with a large tie draped over one shoulder.

And Mary J. Blige — the first person to be nominated for acting and song writing for the same film, “Mudbound” — wore a white gown with a glittering bodice and an asymmetrical neckline. She will perform during the gala.

Ladies in Red

Allison Janney — seen as the favorite to take home the Oscar for best supporting actress for her searing portrayal of figure skater Tonya Harding’s mom LaVona in the biopic “I, Tonya” — looked ready for her close-up.

The statuesque actress was red-hot in a show-stopping fire engine red Reem Acra gown with flowing sleeves, a plunging neckline — and plenty of diamonds to fill the gap.

“This is my first time at the Oscars,” she told E! television. “It’s pretty overwhelming.”

Three-time winner Meryl Streep also wore red — a simple gown with a deep-V neckline and three-quarter-length sleeves. She is again a nominee this year, for Pentagon Papers drama “The Post.”

US Olympic medalists kick back

Some of America’s top Olympians graced the red carpet, including bronze medalist figure skaters Mirai Nagasu — in an ethereal powder blue Tadashi Shoji gown — and Adam Rippon, sporting a curious black bondage-inspired harness jacket.

Skier Lindsey Vonn, who earned bronze in the downhill competition, bared some skin in a sheer black sequined lace gown with flapper fringe.

Classy with a twist

Hollywood’s men tried to look classic and make a statement at the same time.

Oscar nominee Jordan Peele — who wore a snappy red jacket to Saturday’s Spirit Awards, where he took home the top prize for horror satire “Get Out” — went for a white dinner jacket on Sunday.

The star of his film — Britain’s Daniel Kaluuya, also a nominee — wore a striking brown jacket with black lapels.

One of Kaluuya’s competitors, Timothee Chalamet (“Call Me By Your Name”), went for an all-white suit and the best accessory — his mom.

And “Call Me” screenwriter James Ivory paid Chalamet the ultimate compliment — wearing a shirt with the actor’s face on it.

Here is a brief summary of the nine films vying for the most prestigious prize at Sunday’s Oscars ceremony:

‘Three Billboards Outside Ebbing, Missouri’

Martin McDonagh’s darkly funny tragicomedy has surged at the 11th hour to go into Sunday as the narrow favorite in what most experts are characterizing as a four-way race with “The Shape of Water,” “Get Out” and Lady Bird.”

Oscarologists see its star Frances McDormand as a sure thing for the best actress statuette for her visceral turn as a rage-filled grieving mother at loggerheads with the local police over the failure to find her daughter’s killer.

The film’s late momentum comes as something of a surprise after it was hit by the biggest backlash of any of this year’s contenders.

The criticism mainly centers on what has been perceived as a cheap redemption for racist, violent cop Dixon, played by Sam Rockwell — a performance that has made him a favorite for best supporting actor honors.

‘The Shape of Water’

Guillermo del Toro’s romantic Cold War-era fantasy tells the story of a mute cleaning woman who falls in love with a captive magical river creature in a secret US government lab in 1960s Baltimore.

The movie starring Sally Hawkins, Richard Jenkins and Octavia Spencer nabbed the most Oscar nominations with 13, including best picture, director and actress.

It has lost some momentum in the best picture race, where it was the favorite for several weeks but now is in second place in the betting.

‘Get Out’

The bold satire about race relations — told by first-time feature director Jordan Peele in the form of a fantastical horror movie — is one of the top five best critically-received movies of all time, according to Rotten Tomatoes, which collates reviews.

It tells the grisly tale of an African American spending the weekend with his white girlfriend’s family, and discovering all is not as it seems.

The Universal/Blumhouse film — which cost $4.5 million to make — has raked in $255 million so far at the box office.

‘Lady Bird’

A film with a female perspective has not won best picture since “Million Dollar Baby” in 2005 and coming of age tale “Lady Bird” would be a popular winner with supporters of the #MeToo and Time’s Up campaigns demanding justice for sexual misconduct victims and fair treatment for women in the workplace.

Greta Gerwig’s solo feature directorial debut — a moving and authentic portrait of a volatile mother-daughter relationship — could see her become only the second woman ever to win the Oscar for best director.

‘Dunkirk’

Sweeping World War II epic “Dunkirk,” directed by Christopher Nolan, will have to pull off a feat almost as unlikely as the air and sea rescue it depicts to win best picture.

The tense retelling of the storied 1940 evacuation of hundreds of thousands of Allied troops from a beach in northern France, starring One Direction singer Harry Styles, is an outsider for the top prize going into Sunday.

It is in good shape however to take some of the technical Oscars for sound and film editing, as well as sound mixing.

‘Darkest Hour’

In many ways a companion piece to “Dunkirk,” “Darkest Hour” follows the politics of the rescue at home — the machinations of the British government and the maneuvers of newly-anointed wartime leader Winston Churchill.

British actor Gary Oldman, who disappears entirely into the role of Churchill thanks to some convincing make-up and padding, is expected to bring home his first Oscar for best actor, although the movie is another outsider for best picture.

‘Call Me by Your Name’

James Ivory scooped the Writers Guild of America award for best adapted screenplay for his work transforming Andre Aciman’s 2007 novel “Call Me by Your Name” into the film of the same name, starring Timothee Chalamet.

Luca Guadagnino’s paean to the universal heartbreak of first love, set in northern Italy in the 1980s, has three nominations other than best picture — for Ivory’s screenplay, a best actor nod for Chalamet’s performance and best original song.

It burst into theaters before Christmas to critical acclaim — it currently boasts an average score of 8.7 out of 10 from 271 reviews collated by Rotten Tomatoes — but has lost momentum since and is seen as a long shot.

‘The Post’

Steven Spielberg’s celebration of journalism and the free press recounts the nail-biting behind-the-scenes story of the 1971 publication by The Washington Post of the Pentagon Papers, which exposed the lies behind US involvement in the Vietnam War.

It stars best actress nominee Meryl Streep as aristocratic Post publisher Katharine Graham and Tom Hanks as the newspaper’s scrappy executive editor Ben Bradlee.

Not mentioned in the film but present between the lines on every page of the script is President Donald Trump, who has waged a vitriolic campaign against media outlets he believes are unfair to him.

‘Phantom Thread’

In a movie full of noteworthy performances, the most remarkable thing about this project is the fact that its towering, iconic star — triple Oscar-winner Daniel Day-Lewis — says it will be his last.

One of the most acclaimed performers of his generation, the British-Irish method actor, 60, announced he would “no longer be acting” after reuniting with “There Will Be Blood” director Paul Thomas Anderson for the story about fashion in 1950s London.

Anderson’s tender but brutal story of the romance between a dressmaker and his muse is also up for best director and actor, best supporting actress for Lesley Manville, best score for Radiohead’s Jonny Greenwood and best costume design.

But if there’s one thing previous ceremonies have demonstrated, it’s that it’s a good idea never to expect the expected on Hollywood’s biggest night.

Here are five things to watch for:

The specter of ‘Envelopegate’

It may have been the most embarrassing flub in Oscars history, but don’t expect host Jimmy Kimmel to shy away from mining “Envelopegate” for comedy gold at the Academy’s expense.

The embarrassing mix-up at last year’s show saw the best picture Oscar incorrectly given to musical “La La Land” before the actual winner, coming-of-age drama “Moonlight,” was finally handed the prize.

Accountants for PricewaterhouseCoopers, the firm responsible for tabulating Oscar ballots, had handed Warren Beatty and Faye Dunaway the wrong envelope.

Oscar watchers expect the mistake, which made for a chaotic end to the film industry’s biggest night, to be fodder for both Kimmel’s opening monologue and jokes from the presenters.

Best picture photo finish

“The Shape of Water,” Guillermo del Toro’s much-admired Cold War-era fairy tale love story, goes into the Oscars with the most nominations — 13 — compared to just seven for its main rival, “Three Billboards Outside Ebbing, Missouri.”

But Martin McDonagh’s “Three Billboards,” an early favorite in the prestigious best picture race, has weathered a backlash against its treatment of race issues to launch a late assault on the statuette.

It has regained its status as the narrow frontrunner at odds of 13/10 against 2/1 for “The Shape of Water,” according to awards prediction website Gold Derby.

Every Oscars ceremony serves up some shocks, however, so don’t count out “Get Out,” the third favorite ahead of outsiders “Lady Bird” and “Dunkirk.”

#MeToo and Time’s Up

The #MeToo and Time’s Up movements — against sexual misconduct and gender inequality, respectively — have featured prominently in the awards season, inspiring many powerful speeches and turning the red carpet into a sea of symbolic black dresses at the Golden Globes and the Baftas.

While there is no official repeat planned, some actresses have indicated they will again wear black in support of #MeToo on Sunday.

Ryan Seacrest, an Academy Awards mainstay interviewing the rich and famous on the red carpet for E! News, is facing his own backlash following allegations of repeated sexual harassment from a former stylist.

The channel is standing by Seacrest, host of ABC’s “American Idol” and “Live With Kelly and Ryan,” and says he’ll be on the red carpet as usual.

Oscar rarities and firsts

Don’t be alarmed if you hear glass ceilings shattering at this year’s Oscars, with numerous breakthroughs to cheer among the nominees.

“Mudbound” director Dee Rees is the first black woman nominated for best adapted screenplay, while her director of photography Rachel Morrison is the first woman to be nominated for best cinematography.

“Mudbound” scored another first, with soul diva Mary J. Blige the first person nominated for acting and best original song in the same film.

Yance Ford (“Strong Island”) is the first openly transgender director ever nominated, and Jordan Peele (“Get Out”) is the first black filmmaker nominated for directing, writing, and producing.

He is also only the fifth black person ever nominated for best director — after John Singleton, Lee Daniels, Steve McQueen and Barry Jenkins — and could be the first to win.

Greta Gerwig (“Lady Bird”) is the fifth woman in history nominated for best director” and the first to land the nod for a directorial debut.

Other firsts include a superhero film nominated for best adapted screenplay (“Logan”) and the first person over the age of 87 to be nominated for an acting award — Christopher Plummer in “All the Money in the World.”

Hosting test for Kimmel

Comedian and late-night host Jimmy Kimmel will preside over the Oscars for the second consecutive time, with critics tuning in to see how he navigates the tricky balancing act of being funny without making light of the #MeToo victims.

Keeping the more than three-hour show — usually the most-watched non-sports telecast each year in the United States — upbeat in a year overshadowed by allegations of sexual assault will also be a tough challenge.

The “Jimmy Kimmel Live!” host was presenting last year when Beatty and Dunaway wrongly gave best picture to “La La Land” instead of rightful winner “Moonlight” after being handed the wrong envelope.

“We were like, we have 10 seconds to say goodbye, we don’t know how long the speech is going to be, and it affects your rating in a very negative way if you go on past midnight,” Kimmel recalled in an interview with news portal AZ Central.

“And then all of a sudden it was like, ‘Forget midnight. This might go on into ‘Good Morning America.'”

The Robin Campillo film, which tells the story of French AIDS activists in the 1990s, received 13 nominations and took home six gongs, including best film.

The best director award went to Albert Dupontel for “Au Revior la-haute”, an adaptation of a Pierre Lemaitre novel about the friendship between two World War I soldiers.

Jeanne Balibar took home best actress for her performance in “Barbara” while Swann Arlaud was awarded best actor for his role in “Petit Paysan”.

Top streaming service Netflix recently unveiled new about the cast as well as a first look at the series, which launches March 23.

The comedy is centred on Joel (Timothy Olyphant) and Sheila (Drew Barrymore) Hammond, a married couple working as realtors and leading vaguely discontented lives in the Los Angeles suburb of Santa Clarita with their teenaged daughter Abby (Liv Hewson) – until Sheila goes through a dramatic change and begins a new diet of human flesh sending their lives down a road of death and destruction…but in a good way.

Picking up right where it left off, Season 2 of Santa Clarita Diet finds the Hammonds trying to adapt to Sheila’s now-advanced undead state  even though she’s desperately working to hold on to her suburban lifestyle and not become defined as just another monster. Unfortunately – while the family has become markedly better at murder – the number of missing people in Santa Clarita is starting to pile up and it’s no longer going unnoticed.  Meanwhile, the Hammonds are chasing the source of the virus so they can stop it from spreading and save humanity. Through it all, Sheila and Joel are grounded by their unconditional love for one another. Sure, being undead – or loving someone who is – isn’t always easy, but don’t all relationships have their challenges? Joel McHale and Maggie Lawson guest star as Chris and Christa, married realtors in Santa Clarita and a more successful, more aggressive version of Sheila and Joel.

Other new cast members includes Gerald McRaney as Ed Thune, a retired army colonel who Joel finds very intimidating. Zachary Knighton plays Paul, a relaxed descendent of Serbian ancestors who has been tasked with pursuing the truth of the undead, no matter who or what stands in his way.

Find out more at Facebook.com/SantaClaritaDiet/.

One of the better fan-obsession movies to come out in recent years, Roman Polanski’s 2017 drama “Based on a True Story” is, as the title implies, adapted from the real-life trauma suffered by French writer Delphine de Vigan following the publication of a highly personal novel devoted to her mother. The work is a best-seller but also brings out the trolls, who write her anonymous letters accusing her of having thrown her family to the lions. Depressed and suffering from writer’s block, Delphine is charmed when she meets Elle, an intelligent and sympathetic young woman who seems to understand her better than anyone else.

With a screenplay by Olivier Assayas, who was behind the hit movie “Personal Shopper” and starring Polanski’s partner in real life, Emmanuelle Seigner as Delphine and Eva Green as Elle, the film was made in just  12 weeks and premiered out of competition at the 2017 Cannes Film Festival.

Polanski spoke a little about the film before its release yesterday in Bangkok.

How did you get involved with this project?

Emmanuelle handed me Delphine De Vigan’s novel and told me, “you have to read this, this could be a film.” She was right! I reached out to Wassim Beji, the producer who retained the book rights. We met for the first time days prior to Cannes last year and everything unfolded incredibly quickly from that point on.

What appealed to you about the novel?

The characters and the peculiar and unsettling situations they find themselves in. These are themes I explored in “CuldeSac”, “Repulsion” and Rosemary’s Baby”. This is also a book that tells a story of a book, not unlike “Ghost Writer”.

How did Olivier Assayas become involved?

Olivier’s last two films were about women. I was familiar with his work, I knew that he had written for other directors, and that he was effective. So I was sure he would be able to deliver a great shooting script right out of the gate.

Did you always have Emmanuelle Seigner in mind to play the novelist?

Initially, we debated which role Emmanuelle would be best for, but as soon as we started writing, it became apparent that she was the perfect choice to portray the novelist. We therefore needed to find her counterpart, someone very unsettling. Eva Green immediately can to mind and you only need to see the film to understand why. I had been blown away by her performance in Robert Rodriguez’ “Sin City: A Dame to Kill For”. It was a wonderful experience working with Eva, but even more so working with Eva and Emmanuelle together. From the onset, Eva and Emmanuelle got along extremely well – which isn’t always a given between actors. Their friendship was a godsend.

Do you find it hard to direct the woman with whom you share your life?

It’s easier than … living together! [Laughs] What surprised me, with one much like the other, was how prepared both actresses were. And yet, they would receive the script piece-meal, which we were still tweaking whilst in production.  Emmanuelle and Eva were both consummate professionals and came to the table with excellent ideas. Emmanuelle was specifically interested in constructing a character which was a departure from her past roles.

What made you think of casting Vincent Perez as François, Delphine’s partner?

I have long been looking for an opportunity to work with Vincent Perez, he’s a friend. In the role of Francois, I wanted someone who resembled Delphine De Vigan’s real partner in life [François Busnel] who reminds me of Vincent. I thought of him immediately. We met and he quickly accepted the role. He instinctively knew how to balance the kindness and the distance that the character required.

You also cast Josee Dayan, Brigitte Rouan and Noemie lvovsky – who are all directors. Was that a coincidence?

I enjoy working with directors, as they are often very good actors and also generally very easy to work with. When writing a screenplay, I have a very clear idea of what my characters look like. So once we start casting, I seek actors that most closely resemble the image in my mind. Josee reminded me of a ‘tough’ book editor that I had once met. With Brigitte Rouan, it took longer. The actresses that we met with for this role didn’t fit my exact vision. One day, I fell upon a photo of Brigitte that perfectly corresponded with what I had in mind.

Have you met Delphine de Vigan?

Yes, of course. I met her as soon as Olivier and I started working on the adaptation. And then again, towards the end of the shoot. We wanted to shoot during the actual Paris Book Fair, and in order to do so we had to wait until March to capture these scenes in question. Whilst we were there, the organizers invited Delphine, Olivier and myself to meet with the readers. We experienced a warm welcome. The panel was very well attended – there were a lot of people – and when we asked who had read the book, two thirds of the room raised their hands, mostly all women. Delphine de Vigan wrote a story that spoke to women and it was not only important but also satisfying for me to create a film for them.

One of the world’s most important film events, the Berlin International Film Festival brought down the curtain for another year at the weekend after an enthralling 10 days of movies from all over the world.

Rookie female director Adina Pintilie from Romania took home the Golden Bear for her film “Touch Me Not”, which explores intimacy and sexuality among various people. The film also picked up the Best First Feature Award.

The Grand Jury Prize was awarded to another female filmmaker, Poland’s Malgorzata Szumowska for her latest feature “Mug”. Wes Anderson landed the Best Director Award for his latest stop-motion animation “Isle of Dogs”.

While it didn’t take home any awards, Lav Diaz’s latest film, the 230-minute-long “Season of the Devil” did win a great deal of critical acclaim. It also marks a departure in style for the Filipino auteur: “Devil”, he says, is a rock opera, albeit one without any musical instruments.

“When I make films, I never think of duration. The length of the film comes from the editing,” says Diaz of his latest oeuvre, which clocks in at slightly less than half the running time of “A Lullaby to the Sorrowful Mystery”, the eight-hour work shown in Berlin back in 2016. Still, ‘Season of the Devil’ is almost four hours long, with long takes, and in black and white, which is not an easy style for the general audience to appreciate.

“Season of the Devil” takes the audience back the Philippines in the late 1970’s, when the country was under martial law imposed by President Ferdinand Marcos. Based on a true story and set in a remote village under military oppression, it shows how many characters who try to defy power of the military meet an unfortunate end.

“I asked Hazel to play a male soldier. This is part of the concept. The film is also conceptual. There’s also the ‘Janus Face’ guy, whose name is Chairman Narciso. He is a character that represents dictatorship. The character only sees himself,” says Diaz cryptically, referring to the casting of his regular actress Hazel Orancio as a military man who rapes women and tortures those who defy the military’s power. Filipino star Shaina Magdayao plays Lorena, a beautiful doctor who opens a clinic for poor people, but is later abducted by the military, while heartthrob actor Piolo Pascual portrays Hugo Haniway, Lorena’s husband, who is determined to find out what has happened to his wife.

“The songs have been around for a while and it’s good I can use them this time,” Diaz explains. “I wrote a lot of songs in the last quarter of 2016 so they were there when we entered the pre-production phase in September of that that year. Other songs were integrated during the shooting,” he says.

The songs, mostly lyrical laments sung a capella, are not only used to tell the story, but to reflect the political situation today back in the Philippines.

“Some of the songs were very different when I wrote them, but when I started shooting this film, I changed some lines, and changed some of the verses to fit the story”, he adds.

Yet even though there is no music, the form of “Season of the Devil” is similar to a traditional musical, where’s there’s choreographed dance. “We followed the musical format, the great orchestration, the very mani

cured movements,” he explains.

“First the actors rehearsed. I wrote the songs, then I recorded them, and sent them to the actors to practise.”

Given its veracity and knowing full well that the subject remains a sensitive issue in today’s Philippines, Diaz took his cast and crew to Malaysia for the filming.

“The story takes place when the country was under martial law. I witnessed it as a child in the Southern village where I grew up,” Diaz says, adding that history is now repeating itself.

“The military came and we witnessed it, and the same thing is happening again now. It’s a kind of cycle. Similar things are happening in other countries as well. Does any country in Asia have real democracy?”

Now that we live in a world seemingly ruled by authoritarian regimes Diaz feels it is his duty as a filmmaker to bring about change.

“It depends on how we battle evil. The only way is engagement. If you are an artist, you paint or sculpt and convey your message that way. Similarly, a writer must put his/her ideas down on paper and not stop. As a filmmaker, you must create something that is committed to change. If we stop, change is not going to happen. Any small movement can help. The real victim is all of us. The real problem is ignorance. Without examining our culture, we don’t think of the past, we don’t confront the past, we forget the past. The Philippines is a good example of this. The era of martial law was very recent, but young people don’t know about these incidents. If we are not careful, the populist leader will come again. The cycle will come back and we will become victims again.”

The newspaper confirmed Tuesday it is in talks with cable channels and online platforms on which the planned 30-minute show could run, according to Sam Dolnick, an assistant managing editor.

No specific timetable was announced for the show, which is expected to showcase the New York-based daily’s investigations and reporting.

A number of Times journalists are expected to participate in the project, according to CNN, which first reported the plans.

The Times, which already streams its own podcasts, would not be the first newspaper to venture into television.

In 1988, USA Today launched a daily television news broadcast that was pulled after 14 months.

Newer online services like Vice combine traditional news with television, including an HBO show called “Vice News Tonight.”

The Times has been transitioning increasingly to digital as more readers turn away from print.

In its latest quarterly update, the Times said it added 157,000 net digital subscriptions in the final three months of the year, which pushed subscription revenue for the full year to more than $1 billion.

Netflix provided Nasa, the American space agency, access to the pilot episode, which was transmitted to the International Space Station for the astronauts on board to watch.

Thirty years in the future, space colonisation has become a reality, and the Robinson family is among those selected to make new lives for themselves beyond Earth.

But when the new colonists are abruptly torn off course en route to their new home, they must forge new alliances and work together to survive in a dangerous alien environment, light-years from their original destination.

John Robinson, the expedition commander (played by Toby Stephens), and his wife Maureen (Molly Parker), a fearless aerospace engineer, decide to take the family into space. Their children are Judy (Taylor Russell), Penny (Mina Sundwall) and Will (Maxwell Jenkins).

Stranded along with the Robinsons are two outsiders who find themselves thrown together by circumstance and share a knack for deception.

The unsettlingly charismatic Dr Smith (Parker Posey) is a master manipulator with an inscrutable end game. And the roguish but inadvertently charming Don West (Ignacio Serricchio) is a highly skilled blue-collar contractor who had no intention of joining the colony, let alone crash-land on a lost planet.