Aurelia Butler

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    “Poor Things,” the Weird Movie, Was “Poor Things” the Weird Novel, First

    Hot air balloons soar above the Mediterranean. Aerial streetcars fly along ropes suspended above the alleys of a candy-colored Lisbon. Pastel green smoke billows into the night sky from the funnels of a cruise ship.This is the eye-poppingly surreal world that Bella Baxter, played by Emma Stone, thrills to in Yorgos Lanthimos’s Oscar-nominated film “Poor Things.”Bella, a 25-year-old woman who, after committing suicide, is reanimated with the brain of her unborn infant, is the daring and unusual creation of Alasdair Gray, whose 1992 novel was adapted for the movie.And it may not even be his most eccentric book. A prolific writer and visual artist who died at 85 in 2019, Gray wrote five other novels, two novellas, 89 short stories and a version of Dante’s Divine Comedy (“Decorated and Englished in Prosaic Verse”).In Scotland, Gray is something of a national treasure, his papers housed at the National Library of Scotland. (The cover flap for his illustrated autobiography, “A Life in Pictures,” described the lifelong Glaswegian as “Scotland’s best-known polymath.”)Outside Britain, however, he is not exactly a household name.“I would say he’s one of the very few writers from my lifetime that I’m in awe of,” said the English novelist Jonathan Coe, adding that Gray is “enormously respected” by writers and critics.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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    How Beyoncé Jolted the Cuban Singer Daymé Arocena Into a Fresh Era

    The prodigious jazz singer came to embrace her inner pop star on a new album made with Visitante from Calle 13.Running her fingers through her dreadlocks in an outdoor cafe overlooking San Juan’s grittily trendy Calle Loiza strip, Daymé Arocena reflected wistfully on an old flame.“There’s a song on the album, ‘American Boy,’ that I wrote 10 years ago,” she said, discussing a track from her latest LP, “Alkemi,” due on Feb. 23. “He was a serious bass player from New York, the first person who introduced to me free jazz. But I felt the song was so simple, so easygoing, so … pop, that it didn’t fit what I wanted” at the time.“American Boy,” which oscillates between a Yoruban ñongo rhythm and an ’80s-style funk groove replete with Earth, Wind & Fire-style horns, distills the essence of Arocena’s new direction: a move from serious jazz to what she calls “pop” — with a focus on Afro-Latina pride. It’s a major shift for an artist who has made four eclectic albums that combine complex jazz arrangements with Yoruban spirituality and an occasional love song with English-language lyrics.Arocena, 32, grew up in Santos Suárez, a neighborhood in Havana, with a family immersed in rumba folklore so passionately that they turned household objects into musical instruments. She entered the Amadeo Roldán Conservatory at age 10. “I had that double world of rumba at home and Bach at school,” she said and smiled.As she grew into adolescence, Arocena became the lead singer of the big band Los Primos, then created Alami, a jazz band made up of all women. (It later was reformed as Maqueque with the Toronto-based saxophonist and bandleader Jane Bunnett.) In 2014, the French D.J. and producer Gilles Peterson, who founded the London indie label Brownswood Recordings, invited Arocena to participate in “Havana Cultura Mix — The Soundclash,” a collaboration between international electronic artists and Cuban musicians.In some ways, Arocena’s tendency to mix Afro-Cuban folkloric music, post-salsa “timba” music and outside influences like R&B reflected the mid-2010s Havana scene that Peterson encountered, one that produced the funk master Cimafunk. He sang in Interactivo, a crucial band from this period that was “the soundtrack of an entire generation,” Arocena said. “Every Wednesday, all the cool kids would go to see them at the Bertolt Brecht” cultural center, she added, peppering her speech with an occasional English word or phrase.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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    Sam Mendes to Direct Four Beatles Films

    The Oscar-winning filmmaker Sam Mendes was given full rights to the band’s music and their life stories for the unusual quartet of films, planned for 2027.The British director Sam Mendes has signed on to direct not one but four biopics about the Beatles, each telling the story of the Fab Four from a different member’s point of view.Apple Corps, the guardian of the Beatles’ musical interests, and Paul McCartney, Ringo Starr and the families of John Lennon and George Harrison have granted full life story and music rights for the scripted films — a first — which will be financed and released by Sony Pictures Entertainment. The films are planned for release in 2027.“I’m honored to be telling the story of the greatest rock band of all time, and excited to challenge the notion of what constitutes a trip to the movies,” Mendes said in a statement on Tuesday. The announcement teased that the films would be released in an “innovative and groundbreaking” manner, but did not offer details.In recent years Mendes, the Oscar-winning director of “American Beauty,” has helped refresh the James Bond franchise with “Skyfall” and told the story of two British lance corporals in World War I in “1917.” As a theater director, he showed an ability to work with complicated biographical material over a long stretch of time with “The Lehman Trilogy,” a saga about the rise and fall of Lehman Brothers that earned him a Tony Award.Biopics about pop stars have grown popular in recent years: “Bob Marley: One Love” was on track to earn an estimated $33.2 million last weekend, following on the success of films including “Elvis” in 2022 and “Bohemian Rhapsody” in 2018.The Beatles have shown strength with movie audiences since they starred in “A Hard Day’s Night” in 1964, playing versions of themselves. Their fans continue to show an appetite for expansive projects: Peter Jackson’s documentary series “The Beatles: Get Back,” an over-seven-hour project, was released to much acclaim in 2021 on Disney+. More

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    In ‘Ready to Sell Out,’ Mike Epps Moves Past the Beefs

    His new special nods at his past resentment of Kevin Hart and others. It’s part of a stand-up tradition of feuds like the ones fueled by Katt Williams.Mike Epps may be the only stand-up comic alive who’s upset that Katt Williams didn’t insult him.In a now notorious, wildly viral three-hour interview with Shannon Sharpe (59 million views and counting) last month, the comic Katt Williams fired salvos at a festival’s worth of comics including Kevin Hart, Steve Harvey and Cedric the Entertainer. Then came the response videos, the counterattacks, the commentary. Epps, unmentioned by Williams, said he was jealous. “Say something bad about me,” he pleaded in a video. “I need the press.”Of all the gifted stand-ups to emerge from the “Def Comedy Jam” scene of the 1990s, Epps is the one most likely to find humor in failure, minor humiliation, missing the boat. He understands that comedy is more about losing than winning. “I know you guys see me in the movies, but the money’s gone,” he tells an Arizona crowd in his new Netflix special, “Ready to Sell Out,” released Tuesday. Then he jokes: Why else would he be in Phoenix?Pacing the stage in a brown leather jacket and new sneakers, Epps is unquestionably a star, with credits in film (“Next Friday”) and television (“The Upshaws”), not to mention three previous specials on Netflix. But part of his persona is that he makes poor decisions. “I tried to be Muslim but got caught with a ham sandwich three days in,” he once joked.Hailing from Indianapolis, Epps is quick to tell you that he dropped out of high school and spent time in jail. He explains to the crowd in his new hour that he made all his movies on cocaine, and while he is not boasting, the way he relates his drug stories make a mockery of righteousness about addiction. “When I be doing coke,” he says, then slightly stammers and starts again: “When I used to do coke.” Then his eyebrows dance.Onstage, Epps convincingly plays that rascal who has charmed his way out of trouble. Sometimes, his charisma is a crutch. His writing can coast, especially early in this hour when he seems to be at his most generic, doing pandering or familiar jokes about prison rape, fat girls and code-switching. His most surprising moments are not punchlines, but when he says something that could in different hands come off as serious, like when he mentions he’s been pretending to dislike white people for 40 years. There’s also a moodier side to him that you get peeks of in his stand-up but that probably deserves fuller expression.His personal material is where this is most evident, especially in his commitment to digging into his own flaws, to celebrating the screw-ups in life. He pulls this off with an unexpected, even religious conviction. How is this for a comically counterintuitive defense of doing the wrong thing: “Give God a chance to keep working with you.”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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    Damo Suzuki, Singer Who Ignited the Experimental Band Can, Dies at 74

    His free-spirited music ignored genre boundaries. “If you’re a creative person,” he once said, “it’s important to break rules.”Damo Suzuki, a Japanese vocalist best known for his role with the revered and influential German experimental rock group Can during its most crucial period, died on Feb. 9 at his home in Cologne, Germany. He was 74.His death was announced by Can’s label, Spoon Records. No cause was given, but Mr. Suzuki had been diagnosed with colon cancer in 2014. Initially given a 10 percent chance of recovery, he endured more than 40 surgeries in the ensuing decade.Mr. Suzuki was a free spirit who left Japan as a teenager for a nomadic life in Europe. His music ignored genre boundaries, and his singing often sounded like shamanic incantations in an invented language.“If you’re a creative person,” he said in a 2013 interview with The Japan Times, “it’s important to break rules. If you’re in the middle of the system, you can’t create much. But if you’re on the outside, you can just avoid it, start from zero and make your own stuff with no influence at all.”With Can, his enigmatic, sometimes indecipherable utterances wove through free-flowing grooves. His vocals could be as lilting as a lullaby — the Can guitarist Michael Karoli once called him a “loud whisperer” — or as startling as a shriek. In performance, while his bandmates concentrated on their instruments, Mr. Suzuki shimmied around the stage like a psychedelic imp, often barefoot and shirtless, his face hidden by an undulating mane of long black hair.Mr. Suzuki in front of his fellow members of the German band Can in Hamburg in 1971. From left: Irmin Schmidt, Jaki Liebezeit, Michael Karoli, Uli Gerlach (the band’s tour manager) and Holger Czukay.Jacques Breuer/Picture-Alliance — Deutsche Presse-Agentur, via Associated PressWe 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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    Zelda Williams, Daughter of Robin, on ‘Lisa Frankenstein’

    As the director of “Lisa Frankenstein,” she embraced a tale in which no one was concerned whether grief was palatable to others.Zelda Williams never intended a teenage zombie rom-com to be her feature filmmaking debut. For one thing, the project, “Lisa Frankenstein,” was a big concept to sell, a high-camp period piece set in the fuchsia-and-teal ’80s. There was grief, violence and a floofy-haired love interest who was — not to put too fine a point on it — not only mute but dead.For another thing, Williams, 34, the only daughter of Robin Williams, the Oscar-winning comic superstar, worried that making her first big step out with a comedy would inevitably draw the wrong kind of attention. “It’s the one thing I thought people are going to be particularly mean to me about,” she said.But the script for “Lisa Frankenstein” came courtesy of Diablo Cody, who found one-liners, and an Oscar, in adolescent trauma with “Juno,” and who also wrote the feminist teen horror flick “Jennifer’s Body,” lately hailed as a cult classic.Some of the themes in “Lisa Frankenstein” resonated with Williams’s own life, as a person who experienced shock waves of anguish after her father’s sudden death in 2014. Plus, the film came wrapped in a pastiche of references from ’80s and ’90s movies she loved, like “Heathers,” “Weird Science,” “Beetlejuice” and “Death Becomes Her.” Williams was sold on it immediately, and of all the projects she was considering, it was the first to get greenlit.So she tucked away her trepidation, drew up her storyboards and shot list, and showed up on location in New Orleans, where she promptly got Covid and had to spend the first week directing from inside a van.Kathryn Newton and Cole Sprouse as the Creature in “Lisa Frankenstein.”Michele K. Short/Focus FeaturesWe 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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    Jaap van Zweden Bids Farewell, and Other Classical Highlights

    The Philharmonic’s maestro ends his tenure, Igor Levit comes to Carnegie Hall, and the Metropolitan Opera takes a chance on reviving two recent hits.The New York Philharmonic’s spring gala is not usually of much musical interest. It tends toward mild fare — just enough to keep the donors happy before dinner and dancing.But this year, the playing will draw closer attention. The gala, on April 24, features the only appearance this season by Gustavo Dudamel, the Philharmonic’s next music director. He will take part in the celebration of the orchestra’s education programs, including its signature Young People’s Concerts, which are turning 100.The Philharmonic has been careful not to have its Dudamel-led future step too much on its less starry present. This season also brings the final months of Jaap van Zweden’s brief tenure as music director, which will begin on his favored ground: the classics.A mid-March program of Mozart’s elegant Piano Concerto No. 17 (with Conrad Tao as soloist) and Beethoven’s deathless Fifth Symphony is such a sure audience pleaser that the Philharmonic is confidently giving it four performances, rather than the usual three.Van Zweden led the orchestra in Beethoven’s Fifth in October 2015, a few months before he got the music director job. I wrote then that “conducting this imaginative and playing this varied don’t appear at Geffen Hall every week.” His meticulousness didn’t come off as mannered, as it sometimes does. The inner two movements felt especially inventive, and I’ll be listening for whether the whole thing has the polish and momentum that have tended to elude the orchestra recently.A few days later, van Zweden will turn his attention to the new, as the Philharmonic plays fresh pieces by Tan Dun — a concerto for the principal trombonist, Joseph Alessi, called “Three Muses in Video Game” — and Joel Thompson.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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    Juliette Binoche on Working With Benoît Magimel in “The Taste of Things.”

    The star of “The Taste of Things” explains why working with her former romantic partner Benoît Magimel was freeing, and weighs in on an Oscar controversy.Some actors come to embody a national cinema through an alchemical combination of demeanor and film choices. You might say that Clint Eastwood is the quintessential American icon, for example, or that Hugh Grant is the embodiment of a certain kind of Britishness.When it comes to France, one of the country’s archetypal stars is Juliette Binoche, whose understated elegance and cryptic smile have graced art-house and popular movies alike since her domestic breakthrough playing an ingénue actress in “Rendez-Vous” (1985), followed by worldwide fame a decade later with the romantic drama “The English Patient” (1996), for which she earned an Academy Award.Now Binoche has two projects arriving at the same time in the United States: Tran Anh Hung’s “The Taste of Things,” in which she plays a self-effacing 19th-century cook, and the Apple TV+ series “The New Look,” in which she portrays Coco Chanel — meaning Binoche essentially carries the flags of food and fashion, the most visible signifiers of French culture abroad.During a recent interview in New York, the actress looked amused when asked about being a national symbol. “I’m fine taking on that role,” she said, laughing. “What’s important is what people feel, because the audience relates to something that is unsaid, something beyond ideas. Of course, the theme is food in ‘The Taste of Things,’ ” she continued, “but it’s also love and creating together” (Which, come to think of it, is also associated with the French.)Adding seasoning to the pot-au-feu, the movie paired Binoche with her former romantic partner Benoît Magimel. Although they broke up two decades ago, the actors’ intimacy seemed to return onscreen, like muscle memory.Tran recalled that Magimel went rogue while shooting the complex finale. When Binoche’s character, Eugénie, asked whether she was his cook or his wife, Magimel’s gourmand was meant to say, “You are my cook,” to acknowledge her mastery. Except that the actor added “… and my wife.”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