Aurelia Butler

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    Who Are the Favorites to Win Eurovision?

    Some of the buzziest acts taking part in Saturday’s final hail from Croatia, Israel and the Netherlands.On Saturday, acts representing 26 countries will compete at the Eurovision Song Contest, the high-camp competition that is also world’s most watched cultural event. The winner is chosen by a combination of votes from music industry juries in participating countries and viewers watching at home. Sometimes, they reflect the strength of individual performances; other times, politics comes into play.Who is most likely to triumph at this year’s event in Malmo, Sweden? Here are the five acts who may have the best chance, based on European bookmakers’ odds and online chatter.The NetherlandsJoost KleinJoost Klein, representing the Netherlands with “Europapa,” has emerged as one of this year’s most-talked about acts.Klein is a star in his home country who mixes pop with hyperfast beats. In “Europapa,” he raps about a transcontinental journey that is also tribute to his parents, who both died when Klein was young.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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    Post Malone Goes Country With Morgan Wallen, and 8 More New Songs

    Hear tracks by Raveena, Willow, John Cale and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Post Malone featuring Morgan Wallen, ‘I Had Some Help’The ever-adaptable Post Malone moves into country with this duet with Morgan Wallen. It’s jovial on the surface, with cheerful steel-guitar hooks. But it’s deeply surly at heart, as Malone and Wallen take turns lashing out at an ex who blames them after a relationship crumbles. “It ain’t like I can make this kind of mess all by myself,” they insist. “Don’t act like you ain’t helped me pull that bottle off the shelf.” Personal responsibility? Nah.Willow, ‘Big Feelings’Willow embraces her outsize emotions in the full-tilt finale of her new album, “Empathogen,” which veers from her old pop-punk into jazz and prog-rock. Her voice sails over choppy piano chords as she announces her “big feelings,” and when she sings, “Yes, I have problems, problems,” she turns “problems” into a six-syllable arpeggio. In the bridge she tells herself, “Acceptance is the key,” and eventually it sounds like she’ll make peace with those problems, or even flaunt them.Raveena, ‘Pluto’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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    Film Academy Looks Overseas for Donors

    The Academy of Motion Picture Arts and Sciences has announced a global $500 million campaign to shore up its financial future.The Academy of Motion Picture Arts and Sciences on Friday announced a global $500 million fund-raising effort to help diversify its base of support and ensure its financial future in a period of transformation for the film industry and the nonprofit cultural sector.“Both are going through radical business model shifts right now due to changing audience habits and revenue streams,” Bill Kramer, the chief executive of the Academy of Motion Picture Arts and Sciences, said in an email. “As a nonprofit, and like any healthy organization or company, the academy needs a sustainable and diverse base of support to allow for solid long-term planning and fiscal certainty.”Announced during a news conference in Rome hosted by the Italian film studio Cinecittà, the campaign is called Academy100, in honor of the 100th Oscars ceremony in 2028. The academy plans to use about $300 million of the new funds to bring its endowment to $800 million; the remainder will go toward operating expenses and special projects.The academy currently has an annual operating budget of about $170 million, 70 percent of which comes from its Oscars broadcast deal with Disney and ABC, which runs through 2028. About $45 million of the operating expenses are used by the Academy Museum of Motion Pictures.Given the challenges experienced by many cultural organizations, the academy has reason to want to shore up its finances. In March, for example, Joana Vicente of the Sundance Film Festival resigned after less than three years as chief executive amid questions about her fund-raising abilities. Last summer, Center Theater Group in Los Angeles announced a series of sharp cutbacks — including suspending productions at the Mark Taper Forum — to deal with drops in revenue and attendance. And the Metropolitan Opera in New York has withdrawn emergency funds from its endowment.The academy said in its news release that the money raised “will endow and fund programs that recognize excellence in cinematic artistry and innovation; preserve our film history; enable the creation of world-class film exhibitions, screenings and publications; train and educate the next generation of diverse global film artists; and produce powerful digital content.”More than $100 million has already been committed to the campaign, the academy said, including support from Rolex, which is based in Switzerland.As part of the effort, the academy plans to host gatherings and events in locations around the world to “become increasingly global,” press materials said, and help develop a global “pool of new filmmakers and academy members and support the worldwide filmmaking community.”The academy said its “expanded international outreach” will include Buenos Aires; Johannesburg; Kyoto, Japan; Lagos, Nigeria; London; Marrakesh, Morocco; Melbourne, Australia; Mexico City; and Mumbai. More

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    6 New Movies Our Critics Are Talking About This Week

    Whether you’re a casual moviegoer or an avid buff, our reviewers think these films are worth knowing about.CRITIC’S PICKGoing ape for another ‘Apes’ movie.From left, Raka (Peter Macon), Noa (Owen Teague) and Nova (Freya Allan) in “Kingdom of the Planet of the Apes.”20th Century Studios‘Kingdom of the Planet of the Apes’The latest in this sci-fi series follows a group of rebels as they face off against an authoritarian ruler who has twisted the peaceful teachings of a previous leader.From our review:There’s a knowing sense that all this has happened before, and all this will happen again. That’s what makes “Kingdom of the Planet of the Apes” powerful, in the end. It probes how the act of co-opting idealisms and converting them to dogmas has occurred many times over. What’s more, it points directly at the immense danger of romanticizing the past, imagining that if we could only reclaim and reframe and resurrect history, our present problems would be solved.In theaters. Read the full review.A thermal thriller that’s hot and cold.A scene from “Aggro Dr1ft.”Edglrd‘Aggro Dr1ft’This hallucinatory romp directed by Harmony Korine conveys the journey of an assassin entirely through thermal imaging with added digital effects.From our review:Whether it’s the thermal imaging or the augmentation, the visual style renders eyes practically invisible, leaving the actors without an important means of communication. … That absence might account for why “Aggro Dr1ft” is so unengaging on a narrative level, but the monotony might also have to have something to do with the protagonist, a hit man extraordinaire who is also (gasp) a family man. The world’s greatest assassin has been saddled with the world’s most sophomoric internal monologue. “I am a solitary hero. I am alone. I am a solitary hero. Alone,” he mumbles.In theaters. Read the full review.CRITIC’S PICKThink ‘On the Road,’ but for Gen-Z.From left, Micah Bunch, Makai Garza, Tony Aburto, Nichole Dukes and Nathaly Garcia in “Gasoline Rainbow.”Mubi/courtesy of Department of Motion Pictures‘Gasoline Rainbow’Five teenagers embark on a road trip to a “party at the end of the world” and encounter many fellow misfits along the way in the latest from filmmakers Bill and Turner Ross.From our review:There’s an uncommon sweetness to this film, which is less about running away from something and more about discovering the road of life is littered with goodness, if you know where to look. There’s a loose, languorous quality to “Gasoline Rainbow,” which the Rosses shot using a mostly improvised format, a collaboration between actors and filmmakers. It feels like a home movie, or a documentary — a capture of a slice of life in which there’s no plot other than whatever happens on the road ahead.In theaters. Read the full review.A destination wedding that goes nowhere.Brooke Shields as Lana in “Mother of the Bride.”Sasidis Sasisakulporn/NetflixWe 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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    How a Village Comes to Life in ‘Kingdom of the Planet of the Apes’

    The director Wes Ball narrates a sequence from his film.In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.In this sequence from “Kingdom of the Planet of the Apes,” we see how a tribe functions in an idyllic village before threats emerge. The scene follows Noa (Owen Teague), Soona (Lydia Peckham) and Anaya (Travis Jeffery) as they return from the ritual of collecting an eagle egg that they will nurture.Narrating the sequence, the director Wes Ball said, “The goal was really just to set up a world that was wonderful, that was ultimately going to be forever changed.”The scene was shot on location in Australia with the principal actors in performance capture gear. Ball said that they shot the sequence twice, once with the actors, and then a second time without the performers. He said he chose the best performance to be digitally dropped into the scene. He also had other performers do their movements on a stage and put them in as background in the scene as well.“It’s an interesting process where I can take all of these different little elements and layer them all together,” he said.Read the “Kingdom of the Planet of the Apes” review.Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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    ‘Back to Black,’ and the Challenges of Dramatizing Amy Winehouse

    Several depictions of the singer’s life have explored her tense relationship with fame. The new biopic “Back to Black” instead centers her romantic life.In another life, Sam Taylor-Johnson might have crossed paths with Amy Winehouse. The filmmaker and the singer had some mutual friends, “but we never met,” Taylor-Johnson said recently. “It was like a strange sliding doors moment,” she added: “I would arrive somewhere, and she would have just left.”Taylor-Johnson is the director of “Back to Black,” a new biopic about Winehouse that stars Marisa Abela (“Industry”) as the beloved British singer. In the 13 years since Winehouse died from alcohol poisoning in her North London home at age 27, there has been a posthumous album, a tell-all memoir from her father, an Oscar-winning documentary and several museum exhibitions about her life.Some of these projects — most notably the 2015 documentary, “Amy” — emphasized how ferocious public and tabloid interest in her personal life fueled Winehouse’s addictions. (In a review of that documentary for The Times, Manohla Dargis wrote, “What’s startling now is to realize that we were all watching her die.”)For Taylor-Johnson, it was time to create a narrative that celebrated Winehouse for “her great achievements,” she said. A documentary is a forensic breakdown of someone’s life, Taylor-Johnson added, whereas she saw her own film as “more poetic.”Sam Taylor-Johnson said she had ignored reviews of “Back to Black.” “If a friend starts to tell me, I hang up on them,” the director said. “I don’t want to be thrown off my path.”Philip Cheung for The New York Times“Back to Black,” which opens in theaters in the United States on May 17, revolves around Winehouse’s turbulent relationship with Blake Fielder-Civil, an on-off romance that inspired the artist’s soul-inflected album of the same name. “She tells her story through the narrative of her songs,” said Taylor-Johnson. Using the lyrics as the movie’s main source material put Winehouse’s perspective at the center, she said.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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    On Andra Day’s ‘Cassandra (Cherith),’ a Soaring Voice Reaches Inward

    After playing Billie Holiday onscreen, the singer brings jazz virtuosity to songs of her own.The tart, bluesy quaver in Andra Day’s voice has a long heritage. It bends the well-tempered notes of the European scale into idiosyncratic microtones and mocks any inflexible rhythm. It reaches back through Jazmine Sullivan, Amy Winehouse, Erykah Badu, Esther Phillips, Dinah Washington, Ella Fitzgerald, Bessie Smith and of course Billie Holiday. Day won a Golden Globe portraying Holiday in the 2021 film “The United States vs. Billie Holiday,” and recorded a full album of Holiday’s repertoire. She also learned deeply from her bittersweet amalgam of vulnerability and flintiness.Throughout the history of American music, blues, jazz and soul singers have used the jazzy quaver for the subtlest nuances of emotion: for tension, playfulness, defiance, flirtatiousness, ache or just blithe ornamentation. Day deploys it all those ways, and more, on “Cassandra (Cherith),” her second album of her own songs.Her first, “Cheers to the Fall,” was released back in 2015. It displayed her agility and power in dramatic, retro-flavored tracks, and it featured a resolute ballad, “Rise Up,” that became an anthem of Black Lives Matter protests in 2020.Day followed “Cheers to the Fall” with a Christmas EP in 2016 that included a duet with Stevie Wonder. Since then, she has released soundtrack songs and singles and recorded some guest appearances. But “Cassandra (Cherith)” makes clear that Day has been stockpiling material; she is a writer and producer, alongside many collaborators, on all of its 16 songs.Day’s 2015 debut album had a reverberant, widescreen, retro sound. By contrast, “Cassandra (Cherith)” favors focused close-ups; it heightens details, making Day’s voice more exposed and even more daring. Throughout the album, her delivery feels questing and improvisatory. She’s so sure of her melodies that she can embellish them at any moment, stretching or rushing or wriggling them as the impulse strikes.She breezes across styles and eras. From a base in neo-soul, with hip-hop beats underpinning sinuous R&B melodies, Day also touches on jazz, Motown, jazz, bossa nova, piano rock and vintage-sounding orchestral pop. But the most important sound on Day’s album is her voice. It’s precise but uninhibited, sometimes carefree and sometimes fiercely intimate.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