Aurelia Butler

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    Yale Will Teach a Course on Bad Bunny’s Cultural Impact

    With a new fall offering, Yale becomes the latest university to offer a course on the cultural impact of the Puerto Rican star.Beyoncé, Taylor Swift and Lady Gaga are among a handful of living pop artists who have amassed enough cultural clout to result in college classes being taught about them. At 31, the global superstar Bad Bunny is about to have (at least) his third, as Yale University plans to offer a course about him this fall.The Yale course, “Bad Bunny: Musical Aesthetics and Politics,” was conceived by Albert Laguna, an associate professor of American studies and ethnicity, race and migration. The Yale Daily News was the first to report on the new course, saying that Professor Laguna was inspired to create the class by Bad Bunny’s latest album, “Debí Tirar Más Fotos,” which the artist has described as his “most Puerto Rican album ever.”Bad Bunny was raised in the coastal town of Vega Baja, Puerto Rico, and has risen over the past decade to become a megastar of reggaeton and Latin trap, helping launch Spanish-language music into the contemporary pop mainstream. He has since netted three chart-topping Billboard albums, headlined at Coachella and become one of the most streamed artists in the world. But his new album, which was recorded in Puerto Rico, is a soulful ode to his roots and homeland, where he was born as Benito Martínez Ocasio.The Yale course intends to use the album to study the Puerto Rican diaspora, Caribbean politics and culture, colonialism and musical genres that Bad Bunny has experimented with, such as salsa, bomba and plena.In a phone interview, Professor Laguna described an experience with Bad Bunny’s new album during a trip to New Orleans, which inspired him to design the class.“I was walking around New Orleans listening to it, connecting with the Caribbean feel of the city in neighborhoods like the French Quarter, which can feel a bit like San Juan, and I just became struck by everything this album is doing,” Professor Laguna said. “You have all these creative ways he’s addressing Puerto Rico’s colonial past and present in it and the current challenges the island faces. It’s all over the album. And he’s engaging these issues in music that’s joyful.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Juilliard Plans $550 Million Drive to Go Tuition Free

    The goal is to make the school’s programs more accessible and to ease the burden on graduates pursuing careers in the arts.The Juilliard School, one of the world’s most prestigious conservatories, plans to go tuition free for all of its students, the school announced on Thursday, and has begun a $550 million fund-raising drive to finance the effort.The tuition-free policy is meant to make Juilliard accessible to a broader range of students and to ease the burden on graduates hoping to pursue careers in the arts, where salaries can be meager. The fund-raising campaign will be one of the largest in Juilliard’s 120-year history.“If a student can get into Juilliard — and it’s hard to get into Juilliard — it can’t be about the money,” said Damian Woetzel, the school’s president. “Money can’t be the determining factor of having the opportunity to come to Juilliard, to be in New York City at Lincoln Center, and to fulfill that dream that empowers art itself.”Juilliard officials did not provide a timeline for putting the new policy in place, saying only that it would be a multiyear effort. The school said it has received about $180 million in early commitments, including a pledge of $130 million from Juilliard’s board.Woetzel, who has made affordability a priority since becoming Juilliard’s president in 2018, said the school would push “as fast as we possibly can” to make the tuition-free policy a reality. He said he was confident that Juilliard could meet its fund-raising target, though he acknowledged it would be challenging.“I am optimistic, even as I am realistic that it’s going to take a tremendous amount of energy and work,” he said. “I think this is a worthy goal, and I think people will understand that.”Juilliard’s tuition, for both undergraduates and graduate students, is $55,500 per year. More than 95 percent of students receive some financial aid. This school year, 29 percent of all Juilliard students pay no tuition. That number is expected to rise to 40 percent for the new school year in the fall.Juilliard already offers some tuition-free programs; since last fall, for example, it has not charged tuition for its graduate acting track. School officials said they now want to extend that policy across Juilliard’s music, dance and drama divisions, which collectively serve some 900 students.The cost of attending Juilliard has at times been a point of contention between administrators and students. In 2021, students led protests against a planned tuition increase, demanding that the school freeze its tuition.Juilliard would not be the only conservatory to go tuition free: The renowned Curtis Institute of Music in Philadelphia, which is much smaller than Juilliard, with about 160 students, has not charged tuition since 1928, four years after it opened its doors. More

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    A New Requirement for Oscar Voters: They Must Actually Watch the Films

    The new rule, announced this week by the Academy of Motion Picture Arts and Sciences, was greeted with laughter and disbelief that it had not been required all along.It has not always been necessary to read the book in order to write a book report, as many a devious middle schooler familiar with CliffsNotes or A.I. can attest. And it turns out that Oscar voters have not always had to watch all the films they passed judgment on.But now the Academy of Motion Picture Arts and Sciences is trying to change that.The academy announced a new rule this week that most filmgoers could be forgiven for assuming was already in place: From now on, members of the academy will be required to actually watch all the nominated films in each category they vote in.Cue the collective side eye.“Like ‘Casablanca,’ I am shocked, shocked to discover that there are academy members who don’t watch all the movies,” said Bruce Vilanch, a comedian who has written for 25 Oscar shows, who added that the new rule was “kind of hysterical.”Skyler Higley, a comedy writer who was on Conan O’Brien’s writing team when he hosted the Oscars last month, called the new requirement “un-American.”“What we do in this country is we sort of vote based on vibes and preferences and biases,” he said. “So to suddenly require that these guys know what they’re talking about when they’re voting, it’s just not what we do in this nation.”Doug Benson, a stand-up comedian and host of the podcast “Doug Loves Movies,” said the rule was “crazy” because most voters were too busy making movies to watch them. “This sucks for academy members,” he said. “But the upside for moviegoers? Maybe award-bait movies will start clocking in at a more reasonable 88 minutes. If they implemented the rule this year, ‘The Brutalist’ would have won squat.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Until Dawn’ Review: They Keep Dying, You’ll Keep Shrugging

    Based on a video game, this movie is done in by mediocre monsters and muddled time loops.Watching someone play a video game that they never let you play is a singular kind of boring. A similar “why am I here?” dullness arrives early and stays late in “Until Dawn,” the new supernatural slasher film based on the popular horror video game of the same name.The game, about the eerie goings-on that happen after sisters go missing from a remote mountain resort, is played in a choose-your-own-adventure style. With interactivity off the table, the film relies on a traditional slasher formula: Clover (Ella Rubin) and a group of her friends make the terrible decision to visit a remote valley’s welcome center seeking answers about the strange disappearance of Clover’s sister.Inside, a masked killer starts slaughtering the characters one by one. But here’s the “Happy Death Day”-style twist: Each night the characters’ lives, and deaths, get reset by an hourglass clock. It turns out there’s a deus ex machina madman at work in this uncanny valley, and as part of his diabolical project to learn more about the mechanics of fear, he reboots days and forces his victims to survive (they don’t) until (you guessed it) dawn.The director, David F. Sandberg (“Annabelle: Creation”) does an exhausting job moving along a script, written by Gary Dauberman and Blair Butler, that’s made slack by mediocre monsters, muddled time loop stuff and underdeveloped characters who seem straight out of a lesser “Goosebumps” episode. The spectacular and repulsively funny deaths by spontaneous combustion deserve their own, better movie.Until DawnRated R for face bashing, gut busting and exploding torso jump scares. Running time: 1 hour 43 minutes. In theaters. More

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    ‘The Trouble with Jessica’ Review: Dinner Party or Crime Scene?

    This British black comedy, starring Indira Varma, centers on a group of wealthy middle-aged friends with fraught histories.There’s a lot not to like about Jessica (Indira Varma), a smug bachelorette with a thing for married men and a new memoir that’s earning raves. Her book’s title is “The Trouble with Jessica,” which takes on new layers when, early on in the film by the same name, she kills herself during a gathering with her longtime friends.If my tone here sounds caustic, that’s because the film, a British black comedy directed by Matt Winn, runs on gallows humor. Unfolding almost entirely in a single setting — a stylish London home — that underscores its Pinteresque theatricality, it uses Jessica’s corpse as a comic prop during the mad scramble that ensues after her death.Before then, the film lays out her friend group’s dynamics, closely tracking the prickly matriarch Sarah (Shirley Henderson) and her guileless husband, Tom (Alan Tudyk). Sarah, more a frenemy to Jessica than a real pal, is peeved when Jessica invites herself to the dinner party she’s hosting — a last hurrah before finalizing the sale of her cherished abode. Joining them is Richard (Rufus Sewell), a louche defense attorney, and his antsy wife Beth (Olivia Williams), who mix up the film’s game of finger-pointing and blackmailing.Tom and the guests are appalled (and eventually complicit) when Sarah — desperate not to jeopardize the sale — suggests moving Jessica’s body to her own apartment. Impromptu appearances from confused cops and an elite buyer ramp up the pressure, while a cheeky jazz score accentuates the sense of chaos and mischief.The problem is that Jessica’s death only serves as a mirror through which the four central characters come to terms with their own flaws, which aren’t all that interesting or revelatory. A critique about the hypocrisies of the righteous upper middle class unfolds halfheartedly, leaving us with performances that might’ve worked better in a sketch comedy scene.The Trouble with JessicaNot rated. Running time: 1 hour 29 minutes. In theaters. More

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    ‘Magic Farm’ Review: A Droll Delight

    Amalia Ulman’s playful second feature follows an American television crew that lands in rural Argentina.A New York City documentary crew sets up shop in rural Argentina in “Magic Farm,” an Americans-abroad satire that teeters between pop treat and indie trifle. It is the second feature from the writer, director and actress Amalia Ulman (“El Planeta”), who across her work shows a knack for droll humor, a soft spot for pretenders and a penchant for play.The story follows Justin (Joe Apollonio) and Elena (Ulman), crew members hoping to salvage a TV segment about quirky subcultures after a gaffe lands them in the wrong country. In the movie, Ulman makes use of a more famous cast — including Chloë Sevigny as a vexed TV anchor — although it is the film’s lesser-known actors who stand out. Apollonio, as a man-child with a crush, is a wry delight, as is the newcomer Camila del Campo, who plays a pouting local coquette.Ingeniously simmering under the folly is a health crisis that has afflicted the agricultural area for decades. This is the film’s joke: If the crew could only get their heads out of their rears, they would uncover a gonzo documentary gold mine.At points, “Magic Farm” idles so heavily that one wonders whether Ulman suffered her own preproduction blunder, stranding her cast and crew in South America without the material to back up her vision. But by pairing the loose subject matter with a curlicued visual style — at one point, she straps the camera to a dog’s head — Ulman suggests that she knows what she’s doing.Magic FarmNot rated. Running time: 1 hour 33 minutes. In theaters. More

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    ‘Cheech and Chong’s Last Movie’ Review: Rolling Another One for the Road

    The comedy duo celebrates a partnership that they just can’t quit in this celebratory documentary.It is not quite accurate to state that had recreational marijuana use been legal in the early 1970s, the comedy team of Cheech Marin and Tommy Chong would not have had careers. As the new documentary “Cheech and Chong’s Last Movie” details, they had rather relatively lucrative gigs before the rise of the counterculture. But when they brought stoner characters into their act, it propelled them even, well, higher.“Cheech and Chong’s Last Movie,” directed by David Bushell, features the two comedians ruminating on their careers and friendship. They do so both in separate talking-head segments and sitting together in the front seat of a vintage roadster in search of a site called “The Joint.” The first segments are more or less extemporaneous interviews, while the scenes in the roadster are scripted. The emotions they perform, however, feel genuine. Bushell has an archive of vintage audio and visual footage to buttress an already incredible narrative. Tommy Chong was born in Canada, but Richard Marin, who was known as Cheech, moved there in the 1960s to avoid the Vietnam War draft. Both were keen on pursuing music careers before they met in an improv theater group in Vancouver. The movie delves so deeply into their pasts that “Cheech and Chong,” their 1971 blockbuster debut comedy album, doesn’t come up until an hour into the movie.And yet the documentary doesn’t quite cover everything — their collaborations with Joni Mitchell and Martin Scorsese go unmentioned, for example. This is still a rollicking account that will make even non-herbally-inclined viewers root for the fellows.Cheech and Chong’s Last MovieRated R for language and — surprise — drug humor. Running time: 2 hours 3 minutes. In theaters. More

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    Dea Kulumbegashvili’s ‘April’ Wont Be Shown in Georgia

    The director Dea Kulumbegashvili’s new movie, “April,” shines a light on the complicated situation for women seeking abortions in Georgia.Dea Kulumbegashvili may be the most celebrated filmmaker to emerge in the past decade from Georgia, a nation of about 3.6 million people that was once part of the Soviet Union. Her debut, “Beginning” (2020), was her country’s submission for the best international feature Oscar in 2021, and her latest, “April,” which opens in U.S. theaters on Friday, won the special jury prize at the 2024 Venice Film Festival.Yet Kulumbegashvili, who lives in Berlin, doesn’t feel particularly welcome back home.“April,” which follows an obstetrician who performs abortions illegally, has not been screened in Georgia. “It has no distribution potential because no one wants to deal with something that would cause a problem with the authorities,” Kulumbegashvili said in a video interview. Though abortion is legal in Georgia for pregnancies under 12 weeks, the reality for women — especially those living outside the major cities — is complicated. A vast majority of Georgians are Orthodox Christians, and traditional ideas about gender roles and domesticity hold sway in most families.The film was “essentially shot in secret,” Kulumbegashvili said. She did not seek domestic funding, instead relying on her producers — who included Luca Guadagnino, the Italian director of “Challengers” and “Call Me by Your Name” — to raise money from international sources.Kulumbegashvili’s grew up in Lagodekhi, a small town at the foot of the Caucasus Mountains, near the border with Azerbaijan; both “Beginning” and “April” were shot there. Underage marriage is a continuing issue in the town, Kulumbegashvili said — as it is in the rest of the country. Ia Sukhitashvili as Nina, an obstetrician who performs illegal abortions, in “April.”Metrograph PicturesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More