“I warmly greet all the victims of these hideous acts who might have felt offended by that letter which appeared in Le Monde (Tuesday). It is to them and them alone that I offer my apologies,” the actress said in a letter published Sunday on the website of French daily Liberation.

Deneuve also said that there was “nothing in the letter” to Le Monde that said “anything good about harassment, otherwise I wouldn’t have signed it.”

France’s most revered actress was among 100 prominent women to sign the open letter defending a man’s right to “bother” women, complaining that the campaign against harassment had become “puritanical”.

They deplored the wave of “denunciations” which has followed claims that Hollywood producer Harvey Weinstein sexually assaulted and harassed women over decades..

They branded it a “witch-hunt” that they claim threatens sexual freedom.

“I love freedom,” Deneuve wrote in the letter to Liberation. “I don’t like this characteristic of our era where everyone feels they have the right… to condemn. An era where simple denunciations on social networks cause punishment, resignation, and… often media lynching,” she wrote.

She also protested not being considered a feminist. She recalled that she had been among the women who had signed a manifesto “I had an abortion” in defence of abortion rights written by French feminist icon Simone de Beauvoir.

As an actress since she was 17, Deneuve admitted that during her career she had been “a witness to indelicate situations” between men and women.

– ‘A free woman’ –

But that Le Monde letter triggered a wave of protest from feminists and victims of harassment and assault worldwide, including one of the women who has accused Weinstein of rape.

Italian actress Asia Argento, who was among the first to denounce Weinstein, said in a tweet: “Deneuve and other French women tell the world how their interiorised misogyny has lobotomised them to the point of no return.”

A group of leading French feminists also excoriated Deneuve in a counterblast letter to French radio, branding her and the other signatories as “apologists for rape”.

“Their letter is like a tired old uncle who doesn’t understand what is happening,” the feminists said.

The letter’s assertions that being “fondled on a metro… was a non-event” to some women, and a man’s right to hit on a woman was fundamental to sexual freedom, sparked particular fury.

“Catherine Deneuve might have very different opinions about harassment if she weren’t an extraordinarily beautiful, very rich white woman living in a bubble of heightened privilege. And had some empathy,” tweeted New York Times cartoonist Colleen Doran.

Against this chorus of opposition, Deneuve wrote the letter to the leftist newspaper Liberation which had invited her to write to clarify her position.

“I am a free woman and I will remain so,” she wrote.

The solution to sexual harassment “will come with the upbringing of our boys and girls,” she said, adding that businesses must also set guidelines so that “if there is harassment, legal action will be immediately taken.”

“I believe in justice,” she said.

The schedule is as follows.

>> January 23 “The Post” (in cinemas on January 25)

>> January 24 “Downsizing” (in cinemas on February 1)

>> January 25 “Phantom Thread” (in cinemas on February 22)

>> January 26 “Lady Bird” (in cinemas on February 15)

Screening time is 8pm.

Steven Spielberg’s film “The Post” is based on true events. “The Post” documents a time when The Washington Post publisher Katharine Graham (Meryl Streep) and her driven editor, Ben Bradlee (Tom Hanks) worked to expose the government’s true reason for involving itself in the Vietnam War, which was explained via the controversial Pentagon Papers.

Their work highlights that journalists are often at odds with some of the highest officials in government, especially when it’s learned that four US presidential administrations (Truman, Eisenhower, Kennedy, and Johnson) misled the American public over why the US was really in Vietnam.

Starring Matt Demon and directed by Alexander Payne, the film “Downsizing” is centred on Paul (Matt Damon) and his wife Audrey (Kristen Wiig), who decide to abandon their old lives and shrink themselves to five inches by using a technology created by Norwegian scientists in an effort to combat global over-population. The permanent procedure also provides the bonus of a more economical lifestyle, since smaller things cost less.  Unfortunately for Paul, downsizing comes with a new list of complications, including Audrey backing out at the last minute.

Directed by Paul Thomas Anderson, the film “Phantom Thread” depicts Reynolds Woodcock (Daniel Day-Lewis), a famous dressmaker living in 1950s London. He has his life nailed down to a science and is very meticulous with his day-to-day routine, but all this is thrown into the air when he encounters a fiery young woman named Alma (Vicky Krieps). Alma is stubborn, headstrong and very different from anything Reynolds is used to. She manages to throw his life into interesting disarray when she becomes his muse and eventually his lover.

“Lady Bird”, which just won the Golden Globe for Best Comedy or Musical, tells the story of high-school senior Christine McPherson (Saoirse Ronan) – also known by the nickname she chose for herself, Lady Bird. Desperate to get out of California, she can’t wait to move to the East Coast, where she dreams of big city life and Ivy League universities.

However, because her grades are nothing spectacular and she has no connections, Lady Bird decides she needs to add extracurricular activities to make her college applications stand out. Meanwhile, her mother struggles to understand her self-centred daughter’s aspirations and desire to move far away, and already has her hands full supporting the family by working double shifts as a nurse.

Only 500 seats are available for each show and tickets can now be purchased from the cinema’s ticket box office at Bt140 and Bt160.

For more information, visit http://www.facebook.com/UIPThailand/.

The swards were organised by the China Documentary Research Centre (CDRC) and hosted by the Communication University of China (CUC).

According to the CDRC, the cinematic and narrative style of the documentary, along with numerous quality interviews and detailed supporting materials, made “The Talwars: Behind Closed Doors” a documentary that has both artistic quality and social value.

The CAADF was first initiated in 2010 and is a major event within China’s documentary scene.

Featuring never-before-seen exclusive interviews, “Talwars” is a gripping documentary that examines the double murder of a teenage girl and her family’s household servant in Noida, India, that quickly became one of India’s biggest murder mysteries, capturing worldwide attention.

With his breakout film “Oldboy” in 2003, director Park Chan-wook has led the surge of Korean directors spotlighted in the international cinemascape in the past two decades.

For his next work, Park will be helming a BBC television drama series revolving around an international intrigue that involves multiple countries. The series will also air on US channel AMC.

The six-episode drama is an adaptation of John Le Carre’s “Little Drummer Girl”, a 1983 novel about an actress who, seeking to escape the dullness of the English bourgeoisie, is lured by an Israeli intelligence agent into a mission to eliminate a Palestinian terror group.

Florence Pugh will star as the protagonist Charlie, and Alexander Skarsgard has also joined the cast. The producer is Laura Hastings-Smith, who produced the film “Macbeth” in 2015. Among the international crew are production designer Maria Djurkovic (“The Imitation Game”, “The Hours”), director of photography Kim Woohyung (“The Taste of Money”) and costume designer Steven Noble (“The Theory of Everything”).

“Of Le Carre’s many masterpieces, the one I loved ahead of any other is ‘The Little Drummer Girl’. At the core of this story is an extremely painful, but thrilling, romance. This is what makes the story universal, reaching beyond borders and languages and remaining incredibly current,” Park told the BBC last month. The series is Park’s second international undertaking following the 2013 Hollywood film “Stoker”, a psychological thriller produced by Tony and Ridley Scott, penned by Wentworth Miller and starring Nicole Kidman. The film, which premiered at Sundance Film Festival, garnered favourable reviews.

“To adapt such a great work without losing its integrity, it needs the time and depth of a television series, and I am excited at the prospect of seeing how the drumbeats of Florence Pugh, the most energetic young female actor I have seen recently, will resonate with the audience,” says Park, who is making his television debut with the series.

The last two films by Park, including the erotic thriller “The Handmaiden” (2016), also featured women as their central characters. India Stoker, a girl with acutely strong senses, and her unstable mother Evelyn took the main roles in “Stoker,” while “The Handmaid en” centres on Lady Hideko, a seemingly docile heiress living under her authoritarian uncle, and her new handmaiden Sookhee.

“The Handmaiden”, which on Tuesday was nominated for Best non-English film for the British Academy of Film and Television (Bafta) awards, was lauded as both a tale of feminine partnership that tears down a control system established by men, and South Korea’s metaphorical tearing away from the reins of Japanese colonial rule. Some, meanwhile, criticised its explicit sex scenes as exploiting the female form.

Park has been vocal about his support for women in film.

“Regarding the recent gender discrimination and hate against women in the film industry, I apologise, as a man, as a director, as a relatively veteran director and as a producer,” Park said in an interview with film magazine Cine 21. “I express true respect to my female colleagues who are speaking up on this situation.”  When he received the Baeksang Arts award in May for “The Handmaiden”, Park said he hoped for a “world where people would not be discriminated against due to race, sexual identity or sexual orientation”.

Film director, screenwriter, amateur photographer, former film critic and former student of philosophy at Sogang University, Park is a self-taught auteur.

He didn’t initially set out to be a director but a critic, even interviewing Quentin Tarantino as a film journalist when the American filmmaker came to Korea to promote “Pulp Fiction” in 1994. The two later met again at the Cannes Film Festival in 2004, when Park was invited for “Oldboy”, which eventually won the jury’s grand prize.

Park only seriously resolved to become a filmmaker upon watching Alfred Hitchcock’s “Vertigo”, and that he was reluctant to watch it twice for fear of shattering those initial, overwhelming feelings the movie had evoked in him.

Park’s debut feature “The Moon is … the Sun’s Dream”, released in 1992, is about a man who discovers his wife’s infidelity. Commercial success and recognition came later, in 2000, when “Joint Security Area”, about an investigation into a shooting that takes place at the Demilitarised Zone in between the Koreas, became a box office hit.

In 2002, Park went on to begin his “Vengeance Trilogy” – “Sympathy for Mr Vengeance” (2002), “Oldboy” (2003) and “Sympathy for Lady Vengeance” (2005). Through these films, he rose to prominence in international cinema for his meticulous framing, black humour and brutal, yet stirring, shots.

Park turned to a quirky romantic comedy inside a mental institution in 2006 through “I’m a Cyborg, But That’s OK”, and went on to film “Thirst” in 2009, about a Catholic priest who turns into a vampire after a medical experiment goes awry.

It’s been four years in the making and today the producers and directors of Exformat are breathing a big sigh of relief as film critics, bloggers and the press are lauding their first ever movie project – the animation “9 Satra” (“The Legend of Muay Thai”).

Favourable comments have been circulating since sneak previews started showing at theatres and the audience attending Wednesday’s gala premiere poured on the praise, making such comments as “surprisingly good”, “the action scenes are awesome”, “I’ve never seen such a thrilling Thai animation as this”, “far better than I expected” and even “the best Thai animation ever”.

Project creator and producer Phusanat Karunwongwat is hoping that the great feedback will spread and cinemagoers will throng to see his project and help the big budget animation survive in the box office.

He is right to be cautious in his optimism though. Prior Thai animation outings have been criticised for weak scripts and being poor replicas of animations from Hollywood and Japan,

“So when they see that our film is fun and entertaining, we hope that they will tell all their friends to come and see it,” he says.

Yet despite the Bt230 million that has been poured into the animation, the people – a group of friends mainly trained as architects  have little, if any, filmmaking experience.

“9 Satra” follows a young muay thai warrior Ott (voiced by singer/actor Kanokchat ‘Typhoon KPN’ Munyadon) who uses his kickboxing powers to unlock the secret weapon from which the film gets its name to fight against the giant Yaksa who have besieged the Ramathep kingdom.

The animation is the brainchild of Phusanat. He’d had a little experience making the short cartoon series “The Salad” and wanted to come up with an animation that wouldn’t cost more than Bt30 million.

“We are not in the film industry so our experience in filmmaking is zero but we agreed to invest in the project after Phusanat told us about his idea,” says architect Apisek Wongvasu, one of the producers who put money into the project.

Phusanat adds that the group was so inexperienced that they had no idea Bt30 million wouldn’t be enough. “We later learned that animations cost a whole lot more,” he says with a smile.

After renting a cinema to screen the first seven minutes to film companies, the group upped the budget to Bt60 million and set up Exformat Films Company. As it turned out, getting the animation from drawing board to screen would cost them Bt230 million not to mention four years of hard work.

“We wouldn’t get anything back if we gave up so we decided to put more money in and make it as good as we possibly could,” says Apisek.

That meant looking for talent in every field among friends and colleagues before expanding the search to include Hollywood companies. Scriptwriters like Suphakorn Riansuwan from Scenario Production and Daraka Wonsiri from Dreambox came on board and the team eventually hired Hollywood script doctor Bryan Hill to give the storytelling more of an international feel.

The process continued in much the same way, with the group bringing on board as consultants former muay thai boxer Charoenthong Kiatbaanchong for advice on the movements, artist Sakwut Wisetmanee to comment on the visual design and musician and music producer Suthee Sangsereechon for the soundtrack. Canadian Ryan Shore was then hired to compose the score. The nephew of Howard Shore who wrote the score for “The Lord of the Rings”, the younger Shore is a well-known composer and songwriter for film and television including for the “Star Wars: Forces of Destiny” TV series. The entire score played by a live orchestra was eventually recorded in Macedonia.

“For every process, we started with local talents then followed our consultants’ advice to find the right piece of the jigsaw to complete our project,” says Apisek.

Hill or Shore regularly flew to Thailand to be briefed by the team on such Thai elements as the belief in magic tattoos, history, muay thai, and melodies before refining both the script and score.

The original idea was to make an animation about Nai Khanom Tom – the legendary icon of muay thai and much of the early work focused on Thai character designs like the Nai Jan Nuad Khiaw in the epic “Bang Rajan”.

“It’s not easy to blend Thainess and international style and both our teams, local and international, worked closely to share ideas and concepts so that the film would not just attract a domestic audience but also animation fans all over world,” says Phusanat.

The animation work itself flowed from the fingers of local animators both hired by Exformat and also with Riff Animation Company, which made a name for itself with the GTH movie “May Nai Fai Raeng Fer” (“May Who?”).

“We can’t beat Pixar or Disney, so we have to create our own style and hope the audience will give us a chance,” adds co-director Gun Phansuwon who teamed with scriptwriter Nat Yoswatananont. A photographer and a professional golfer, Gun came to the project through an uncle of one of the producers.

Gun says that “9 Satra” is targeting both children and adults, indeed anyone who wants to learn a little more about Thai art and culture. “We’re looking at an audience group aged between 14 to 40 and aim to expand to include merchandise and games as well. So the idea has to be more universal and the film has to be the best. We don’t want to be sitting around afterwards asking ourselves ‘what if’,” he says.

Apisek agrees, adding that “9 Satra” has been a collaborative project from the world go, bringing everyone together – from producers and directors – to brainstorm and make decisions at every step.

“9 Satra” will soon be screened at Chinese theatres through Really Good Film, an affiliate of major Chinese studio Bona Film. However, Exformat has called off an earlier deal made with The Weinstein Company following the charges of sexual harassment against its owner.

“9 Satra” is now with the China censorship board and waiting for approval under the country’s foreign film-screening quota. The plan is to release it in between 5,000 and 10,000 cinemas nationwide and Exformat has already negotiated a good deal for the profit sharing.

And there’s every reason to think it will be a hit there. Exformat’s Chinese partner suggested early on that some Chinese elements be included in the story to help the mainland audience identify with the film. That was achieved by redesigning the original character of Maya – a girl from Holland – and turning her into a sexy pirate called Xiaolan.

Most Thai animations made since the first release “Sud Sakorn” in 1979 have tended to focus on children and have portrayed Thai cultural heritage and history. A good example is the top-grossing animation “Khan Kluay”, which despite being a success still fell Bt22 million short in recouping its Bt120 million investment.

Much more disappointing was “Anatta”, which cost Bt100 million to make, but earned just under Bt6 million at the box office.

Can “9 Satra” turn the tide? The team at Exformat are not the only ones hoping that it does.

A massive hit at home, the action blockbuster has attracted almost 12 million viewers and earned more than 90 billion won (around Bt2.79 billion), setting the new record of South Korean film history and Asia.

The two parts have been more than six years in the making but the wait has been more than worthwhile. “Along With the Gods” tells the story of firefighter Ja-hong (Cha Tae-hyun), who is taken to the afterlife by three guardians, where only after passing seven trials and proving he lived a noble life will he be able to reincarnate. Based on the wildly popular webcomic, “Along With the Gods” is a star-studded, action-packed fantasy epic about life, death, rebirth, and the unseen forces that guide us through all. The second part will continue the adventures of Ja-hong and the three guardians during the trials. The film is directed by Kim Yong-hwa, who also helmed “200 Pounds Beauty”, “Take Off”, and “Mr GO”. Ha Jung-woo, Ju Ji-hoon and Kim Hyan-gi are among the co-stars

“Cleopatra is one of the most expensive films ever made in Hollywood. The late actress Elizabeth Taylor portrays the beautiful Cleopatra – Queen of Egypt, Julius Caesar is played by Rex Harrison and the queen’s Roman lover, Marc Antony by Richard Burton. Set in 48 BC, Cleopatra successfully uses her charm to seduce Caesar, the Roman invader, to help her rise to power. Unfortunately, Caesar’s infatuation for her runs deeper than politics and causes the end of his power. Some years later, Marc Antony, a Roman general, becomes her lover. Together they must fight against the great Roman Empire.

Francis Ford Coppola’s “The Godfather: Part II” is hailed as one of the greatest American films of all time. A sequel to the 1972 film, “The Godfather Part II” tells parallel stories of the young Vito Corleone and his son, Michael, who is rising to power after his father. Hunted by a local mafia, Vito runs away from a small town in Sicily to Little Italy in America where he is introduced to a life of crime by murdering a local mafia figure. With his sharp mind and determination, he soon rises to power and creates a mafia network that will last for generations. Meanwhile Michael, now head of the family, is struggling to protect his father’s legacy. A young Al Pacino stars as Michael.

Both films screen at noon. Tickets cost Bt100 and are now available only for “Cleopatra”. Advance tickets for “The Godfather” will be available laer in January.

Find out more at Facebook.com/ThaiFilmArchivePage.

Released in 2011, the film has often been described as one of the best in Iranian cinema, and is directed by one of the country’s most admired filmmakers Dariush Meherjui.

The movie shows how the most intimate of dramas can be portrayed with insight and intensity, minus intimate scenes or actions, which is the hallmark of Iran’s austere but world-renowned cinema.

The film portrays Leila and Reza (Leila Hatami and Ali Mosaffa), a deeply-in-love married couple, who come from modern, upper class families. When Leila learns she is infertile and cannot have children, her husband is cool about it, but not his mother. The latter convinces Leila that it is her duty to allow him to marry again (permissible by Muslim law). Leila is disturbed, but agrees to it, much to her husband’s confusion. When he does marry again, they realise that it affects both of them much more than they expected.

Actress Hatami, who shot to fame in the 2011 Oscar-winning film “A Separation”, has been showered with praise for her portrayal of the wife.

The screening of “Leila” is supported by the Cultural Centre of the Embassy of the Islamic Republic of Iran in Bangkok, which will serve a variety of Iranian snacks and tea, after the screening. The Iranian ambassador Mohsen Mohammadi will introduce the film.

The film is suitable for audiences over the age of 16.

Entry fee is Bt20. The film screens at 4pm at the TK Park on the eighth floor of CentralWorld. Book your tickets in advance by emailing yuttinai@tkpark.or.th and filmforum17@gmail.com.

Hollywood’s A-listers on Sunday turned out en masse in black – a sartorial show of force to draw attention to sexual harassment in showbiz and other industries, a culture of abuse revealed in the downfall of Harvey Weinstein and others.

“On Sunday We Wear Black” to stand in solidarity with men and women everywhere who have been silenced by discrimination, harassment and abuse,” said a tweet from the Time’s Up initiative launched by hundreds of prominent women in Tinseltown to shine a light on the issue.

Women and men alike strutted into the Beverly Hilton for the gala event in their finest, the wide majority of them in basic black.

“People are aware now of a power imbalance. It’s led to abuse in our industry. It’s everywhere,” Meryl Streep, who is vying for a Globe for her work in media drama “The Post”. told E! Network on the red carpet.

Streep – who has come under fire over her denials that she knew about Weinstein’s misconduct – brought Ai-jen Poo, the head of the National Domestic Workers Alliance, as her plus one.

Indeed, the women behind the Time’s Up initiative have called special attention to their “sisters” in less than glamorous blue-collar jobs.

Streep, a three-time Oscar winner, said Hollywood’s men and women now felt “emboldened to stand together in a thick, black line”.

Indeed, the men of Hollywood took some flack ahead of the gala for saying they too would wear black, with some saying they would have worn tuxedos anyway.

But many donned black shirts as well, and offered their impassioned support for the movement.

“I don’t think this is a silent protest. This is going to make people talk about the issue,” David Thewlis, who starred in last year’s box office smash “Wonder Woman,” told AFP on the red carpet.

“As a father, as a husband, why wouldn’t you be 100 per cent in support of this?”

Streep was not the only actress who walked the red carpet with an activist.

Michelle Williams (“All The Money in the World”) arrived with Tarana Burke, the creator of the #MeToo hashtag that exploded in the wake of the revelations about Weinstein as women recounted their experiences online.

Amy Poehler entered with Restaurant Opportunities Centre United president Saru Jayaraman.

The protest movement did not preclude Tinseltown’s finest from making fashion statements.

Oscar winner Catherine Zeta-Jones, who starred in last year’s hit TV series “Feud: Bette and Joan”, opted for a daring sheer lingerie-inspired black gown with plenty of artfully placed sequins – and emerald green earrings.

Alicia Vikander’s gown had a rather Victorian buttoned-up bodice with full coverage, sheer sleeves – and a bare back.

The only pops of colour were minor – a streak of bright green eyeshadow here, a snippet of white fabric at a neckline there, or an orange sash at the waist.

“Tonight is not a mourning. Tonight is an awakening,” actress-director Amber Tamblyn wrote in an opinion piece for the New York Times.

Hollywood spoke with one voice at the Golden Globes on Sunday to declare war on the film industry’s culture of sexual harassment and abuse, as it kicked off its annual awards season on a rare serious note.

Crime drama “Three Billboards Outside Ebbing, Missouri” was the big winner of the night with four trophies, giving it momentum ahead of the all-important Oscars in March.

But the awards podium played second fiddle at times to the clarion call coming from numerous stars about the need to heal and move forward.

“Speaking your truth is the most powerful tool we all have,” actress and media powerhouse Oprah Winfrey told the audience at the Beverly Hilton as she accepted a lifetime achievement award.

“For too long, women have not been heard or believed if they dare speak the truth to the power of those men. But their time is up. Their time is up!” she added, earning a standing ovation.

The industry’s elite turned the red carpet black for the Globes, eschewing bright colours in a fashionable repudiation of disgraced mogul Harvey Weinstein and others ensnared in allegations of misconduct.

And the overall message at the Hollywood Foreign Press Association’s champagne-drenched annual prize-giving was a call for continued change.

“People are aware now of a power imbalance. It’s led to abuse in our industry … It’s everywhere,” Meryl Streep, who was nominated for a Globe for her work in media drama “The Post”, said on the red carpet.

Seth Meyers, making his debut as Globes host, opened the show with joke after joke about Hollywood’s post-Weinstein reckoning.

“It’s 2018, marijuana is finally allowed and sexual harassment finally isn’t. It’s going to be a good year,” the late-night NBC funnyman said.

“For the male nominees in the room tonight, this is the first time in three months it won’t be terrifying to hear your name read out loud.”

Leading the pack by the end of the night was “Three Billboards”, Martin McDonagh’s searing film about a mother who battles local authorities to solve her daughter’s murder.

It picked up trophies for best drama, screenplay, actress for Frances McDormand and supporting actor for Sam Rockwell.

“The women are not here for the food, they’re here for the work,” McDormand said to applause, noting the “tectonic shift in our industry’s power structure.”

But McDonagh lost out in the directing category to Mexican filmmaker Guillermo del Toro, whose fantasy romance “The Shape of Water” came in as joint runner-up alongside coming-of-age film “Lady Bird” with two awards each.

There were no nominations at all for female filmmakers, prompting withering remarks from presenters Natalie Portman, Jessica Chastain and Barbra Streisand.

“Did I hear it right – I was the only woman to get the best director award. And, you know, that was 1984? That was 34 years ago? Folks, time’s up,” Streisand said of her victory for “Yentl”.

While many fields were wide open, James Franco (“The Disaster Artist”) was always a shoo-in to win best actor in a musical/comedy movie.

Franco – who also directed the film about Tommy Wiseau’s flop-turned-cult-hit “The Room” – gave a shoutout to his brother and co-star Dave, telling the gathered celebrities: “I love him more than anything. Thanks to my mother for giving

him to me.”

Saoirse Ronan (“Lady Bird”) pipped Margot Robbie (“I, Tonya”) in the much closer best actress race, and Ronan was back on stage again alongside her director Greta Gerwig when the coming-of-age fable won best comedy movie.

Gary Oldman, ac- claimed for virtually disappearing into the role of British wartime prime minister Winston Churchill in “Darkest Hour”, took home best actor in a drama.

On the small screen, HBO’s “Big Little Lies” scooped up a rare trio of acting awards for Nicole Kidman, Alexander Skarsgard and Laura Dern,

and another trophy for best limited TV series.

“I hope we can elicit change through the stories we tell and the way we tell them,” said Kidman, who portrayed an abused wife in the show.

Dern urged Hollywood to support survivors of abuse and to promote restorative justice.

“May we teach our children that speaking out without the fear of retribution is our culture’s new North Star,” she said.

Ewan McGregor picked up his first Golden Globe in one of the night’s most star-studded categories, best actor in a limited series or TV movie, for his work on “Fargo”.

“The Handmaid’s Tale” followed up its Emmys night glory, when it won four statuettes, by beating perennial awards juggernaut “Game of Thrones” to the Globe for best TV drama series.

Its star Elisabeth Moss also took home the prize for best actress in a drama, and thanked Margaret Atwood, who wrote the best-selling dystopian novel on which the Hulu series was based.