Aurelia Butler

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    ‘Mambar Pierrette’ Review: Cosmic Misfortunes

    A gifted seamstress, played by the filmmaker Rosine Mbakam’s cousin, has to put out a string of fires in this rich portrait of Cameroonian womanhood.Pierrette, a gifted seamstress and a mother of three, can’t seem to catch a break. After a hard day’s work at her humble shop in Douala, a busy city in Cameroon, she’s mugged by a motorcycle taxi driver. It’s also the rainy season and her home — and later her shop — is flooded overnight. It’s a foul time to be broke: The kids are heading back to school and their supplies aren’t cheap.The events of “Mambar Pierrette” are fictional, but the film’s nonprofesssional actors play versions of themselves. The drama is the first narrative feature by Rosine Mbakam, a Cameroonian filmmaker based in Belgium. Over the past decade, Mbakam has distinguished herself as a formidable verité-style documentarian; her subjects, Cameroonian women at home and overseas.Pierrette Aboheu Njeuthat, cast in the title role, is Mbakam’s cousin, and many of the figures who orbit Pierrette’s life are the actress’s neighbors and relatives.A rich community portrait unfolds as Pierrette prepares her clients’ orders and flits around town putting out fires. We get a sense of the patriarchal customs that dictate village life; the frictions between modern, enterprising women like Pierrette and tradition-bound ones like her mother. These and other realities are made apparent in a beautifully organic manner, through the kind of intimate chatter that happens between people who’ve known each other for decades.Pierrette’s rotten luck is no joke. We see, with startling clarity, how a stolen wallet turns into a missed payment, and an electricity shut-off means a sewing machine that can’t sew. Yet the film’s gentle naturalism (at times edging on the uncanny, courtesy of cheeky editing rhythms and an unsettling-looking mannequin) gives her tribulations a cosmic undertone.Mbakam hits a remarkable balance. The sociopolitical truths that make up Pierrette’s losing streak are evident, without the miserable patronizing so common in films about struggle in Africa. Also palpable is a more universal gut feeling: the half-serious suspicion that one has been cursed.Mambar PierretteNot rated. In French, with subtitles. Running time: 1 hour 33 minutes. In theaters. More

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    ‘Lil Nas X: Long Live Montero’ Review: A Hip-Hop Trailblazer

    The documentary, streaming on Max, follows the queer singer-rapper on the road and at home, but the best scenes by far are when he is onstage.To watch the singer-rapper Lil Nas X in the documentary “Lil Nas X: Long Live Montero” is to witness a Black queer man embody a power that still feels very new.Directed by Carlos López Estrada (“Raya and the Last Dragon”) and Zac Manuel, this film, streaming on Max, is historically important given its subject’s place in hip-hop, a genre dominated by heterosexuality and hypermasculinity. New interview footage with Montero Lamar Hill, a.k.a. Lil Nas X, from both on the road and in his home, is juxtaposed with performances from the artist’s recent “Long Live Montero Tour,” a celebration of queer eroticism and joy.But the scenes are assembled like the wall collage of pop stars that we see in his otherwise empty bedroom, resulting in frustrating interview segments that are both broad and cursory. Lil Nas X is forthcoming in the documentary about his preshow bowel movements, for example, but is less open about more meaningful thoughts, such as how his religious journey is connected to his work.When the musician Little Richard, known for his flashy attire and complicated past, comes up in a 1972 interview clip that Lil Nas X briefly comments on, the film makes a quick point about Black queer artists who have struggled to be out. It then falters by generalizing a history that, with some added details, could have better emphasized Lil Nas X’s current impact on culture.“Saying actual words — it’s really hard to do,” Lil Nas X eventually admits. Still, the best parts of this documentary are onstage, where his freedom to be himself tells its own thrilling story.Lil Nas X: Long Live MonteroNot rated. Running time: 1 hour 35 minutes. Watch on Max. More

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    ‘The Peasants’ Review: A Village Rendered in Oils

    The filmmakers DK and Hugh Welchman apply a painstaking oil painting technique to render this sweeping drama set in a 19th century Polish village.The painstaking process behind “The Peasants,” the new painted film exercise from DK and Hugh Welchman, is only laid out after the film ends. As the credits roll, the directors show clips of painters viewing reference footage and then reproducing the images in oil on canvas, sometimes frame by frame.The filmmakers pioneered the inventive animation technique on their previous feature, the Oscar-nominated “Loving Vincent,” and they apply it here to a story of sweeping scale. Based on Wladyslaw Reymont’s novel, “The Peasants” follows Jagna (Kamila Urzedowska), a young woman in 19th century Poland who is driven into a loveless marriage with a wealthy widower (Miroslaw Baka) despite her ongoing flirtation with his strapping son, Antek (Robert Gulaczyk).The world of the film is insular and provincial, stacked with themes of family and faith and peopled with vulnerable girls, resentful wives and brooding men quick to trade punches over perceived affronts to their pride or dignity.“The Peasants” is divided into four seasons, and its inventive visual style proves richest when rendering landscapes — scenery that shifts in color and stroke with the climate. But as the story’s melodrama grows repetitive, so do the visuals. The painted animation is especially deficient in close-up shots (of which there are many); the smudgy brushstrokes blunt facial expressions. In these moments, the technique seems to be working against the film’s emotion rather than for it.The PeasantsRated R for sexual violence and nudity. In Polish, with subtitles. Running time: 1 hour 54 minutes. In theaters. More

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    ‘American Star’ Review: Armed and Vacationing

    Ian McShane stars as an assassin killing time in the Canary Islands.“American Star,” the latest film to showcase the travel benefits of being a professional killer, opens with Wilson (Ian McShane) arriving in Fuerteventura, one of the Canary Islands. After parking his rental car off the side of a desert road, he peeks in the trunk to find a photograph of his latest mark, who of course lives in a sleek, modernist home nearby.But the mark isn’t there, which leaves Wilson consigned to killing only time. Keeping a low profile in a jet-black suit that matches the rental car and attracts the attention of nearly everyone — he befriends a kid (Oscar Coleman) who wants to know why he hasn’t brought swim trunks — Wilson hits it off with a bartender, Gloria (Nora Arnezeder). She appears to be the mysterious blonde who turned up while he was scoping out the (sleek, modernist) house.Citing local wisdom, Gloria says there are only three types of people in Fuerteventura — residents, tourists and those who are running from something. By that point, she has accompanied Wilson to the site of a wrecked ship that provides the movie’s central metaphor. Gloria’s mother (Fanny Ardant) says her daughter has always found that “heap of scrap metal” fascinating. The viewer is meant to conclude that Wilson, a psychologically scarred Falklands veteran, is her new favorite scrap.There is also a younger assassin (Adam Nagaitis), a son of Wilson’s war buddy. He says he is on the island to make sure the hit comes off — an ominous sign. But much of “American Star” is more engaging than a summary makes it sound. Despite an oddball taste for wide-angle lenses, the director, Gonzalo López-Gallego, can sustain a solid slow burn. Still, neither McShane nor the scenery can take the rust off the basic scenario.American StarRated R. Vacation or no, he’s still a hit man. Running time: 1 hour 47 minutes. In theaters and available to rent or buy on most major platforms. More

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    How Did Melanie’s ’Brand New Key” Hit No. 1?

    Melanie’s “Brand New Key” is just one of many weird songs that somehow topped the Billboard charts.When Melanie’s “Brand New Key” debuted in 1971, some people were confused. What did the singer, who died on Tuesday at 76, mean when she sang about having a brand-new pair of roller skates and someone else having a brand-new key?Melanie told interviewers that she wrote the song in 15 minutes, after ending a 27-day fast, and that it was intended to be cute. The folk singer said that it did not have a deeper meaning, though many thought its playful lyrics about biking and roller skating were really about sex (“Don’t go too fast but I go pretty far”). It sounded strange, like a song out of time — Melanie said she intended it to hearken to the 1930s — sung with what could now be called a warbling “indie girl voice.” And it somehow hit No. 1 on the Billboard Hot 100.The song has lingered in pop culture, from a lip sync battle between Jimmy Fallon and Melissa McCarthy to a post-apocalyptic DJ playing it endlessly on “Kids in the Hall.”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?  More

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    Glen Powell at the Sundance Film Festival

    The star and co-writer of “Hit Man” heard that his film had wowed audiences, but because of the actors’ strike, he couldn’t see for himself until now.Glen Powell doesn’t want for much these days, after co-starring in “Top Gun: Maverick” and watching his new film, the romantic comedy “Anyone but You,” cross $100 million at the worldwide box office. Still, for the past few months, there was one little thing he felt he had missed out on.It has to do with “Hit Man,” a comedy Powell co-wrote with the director Richard Linklater that casts him as a hapless teacher who must pose as an assassin for hire. I first saw it at the Venice Film Festival in September, where it proved so crowd-pleasing that the audience broke into applause midway through the movie. A week later at the Toronto International Film Festival, the response was also through the roof.But for months, Powell had only heard about all that secondhand. Since the Screen Actors Guild strike was still going strong during the fall tests, Powell wasn’t able to attend a premiere of “Hit Man” until it played Monday night at the Sundance Film Festival. Afterward, he called me from a car that was speeding him toward celebratory drinks.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?  More

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    How Often Is Taylor Swift Shown at NFL Games?

    A romance between the pop star and Travis Kelce has dominated social media, but TV broadcasts are focusing on it less than many seem to think.As Taylor Swift’s N.F.L. adventure began in earnest at a Kansas City Chiefs game against the Chicago Bears on Sept. 24, the reaction of the Fox broadcast crew — and much of the N.F.L. world in general — was summed up by Erin Andrews, a veteran sideline reporter.“We all need to calm down,” Ms. Andrews said, shortly after Travis Kelce scored a second-half touchdown.Ms. Andrews was making a nod to one of Ms. Swift’s songs, but she was also acknowledging how star-struck she and her colleagues were to have the world’s biggest pop star at Arrowhead Stadium to see her new love interest, Mr. Kelce, play for the Chiefs. Greg Olsen, the lead analyst on the broadcast, went as far as bragging that Ms. Swift had once liked one of his tweets.While Ms. Swift’s presence dramatically expanded the audience for Chiefs games — Nielsen Media Research estimated an additional two million women watched Kansas City’s game on Oct. 1 — some backlash was inevitable. Ms. Swift joked about “pissing off a few dads, Brads and Chads” in her Time Person of the Year profile, but she had run out of one-liners (and facial expressions) by the time the comedian Jo Koy, in a disastrous hosting gig at the Golden Globes, said: “The big difference between the Golden Globes and the N.F.L.? At the Golden Globes, we have fewer camera shots of Taylor Swift.”Mr. Koy soon went on a media tour defending the joke as a criticism of the broadcasts, not Ms. Swift. But the reality was that the sequence at the awards ceremony took 16 seconds to play out, which was more time than CBS had dedicated to showing Ms. Swift at either of the last two Chiefs games she’d attended leading up to that night.And that dissonance between how many times Ms. Swift is shown versus how many times people seem to think she was shown, has continued despite the reality that she is typically on screen for less than 25 seconds over the course of broadcasts that run longer than three hours, and her name is rarely mentioned.Rob Hyland, the coordinating producer for NBC’s Sunday Night Football broadcasts, has run the coverage for two games Ms. Swift attended — the Jets-Chiefs game on Oct. 1 and the Packers-Chiefs game on Dec. 3 — and said his team prepares heavily for how they cover her, but that everything falls away if the game gets interesting.“It is always a balance with what’s happening on the field and how you can enhance what’s happening on the field,” said Mr. Hyland, who challenged any dissatisfied viewers to name any aspect of the games they missed as a result of the cutaways. “It wasn’t like, ‘Hey, let’s, let’s show her this many times.’ It was, ‘Hey, when appropriate, let’s remind the audience that she’s there.’”Mr. Hyland’s crew spent the lead-up to the Jets game — which was only a week into Ms. Swift and Mr. Kelce’s public relationship — frantically trying to find out if Ms. Swift would attend, going as far as having a spotter plane searching the area for police escorts. But a close game led to most of their preparation being tossed aside in favor of game action (and at least six cutaways to Aaron Rodgers, the Jets’ injured quarterback, sitting in his own suite).Two months later, NBC showed her only once during the broadcast of the Packers game, largely because the novelty of the relationship had begun to wear off.A close look at the games that have aired since Christmas reveals familiar patterns of coverage that have Ms. Swift’s fans hoping to see her more while some vocal N.F.L. fans remain overwhelmed.Cameras often spotlight Ms. Mahomes and Ms. Swift after big plays by Travis Kelce. Their outfits are scrutinized heavily by fans online.Mark J. Rebilas/USA Today Sports, via ReutersJan. 21 — Chiefs vs. BillsTimes shown: 5 | Total duration: 24 secondsTravis’s day: 5 catches, 75 yards, 2 touchdownsTime devoted to a shirtless Jason Kelce: 21 secondsScore: Chiefs 27, Bills 24After an early catch by Mr. Kelce, Ms. Swift was shown sitting in her luxury suite, and Tony Romo, the color commentator, said, “There’s an interested fan right there.” The broadcast went back to her suite after both of Mr. Kelce’s touchdown catches to see her celebrations. On the second one, Mr. Romo pointed out that Jason Kelce was sitting behind Ms. Swift, drinking a beer with no shirt on. “There’s your brother-in-law right behind you,” he said, incorrectly characterizing her relationship with Travis Kelce, just as he had during Kansas City’s game on Christmas.Ms. Swift has featured a different Chiefs-themed wardrobe choice at each game, including a custom jacket that Kristin Juszczyk made using one of Mr. Kelce’s jerseys.Ed Zurga/Associated PressJan. 13 — Chiefs vs. DolphinsTimes shown: 5 | Total duration: 1 minute 16 secondsTravis’s day: 7 catches, 71 yardsScore: Chiefs 26, Dolphins 7Ms. Swift’s jacket — a custom creation by Kristin Juszczyk — quickly became the talk of social media. As for the game, which was shown exclusively on the Peacock streaming service, the mentions of Ms. Swift were few and far between, other than an extended stretch in which the game’s commentators, Mike Tirico and Jason Garrett, discussed their proximity to her.“So I’m not exactly sure where in the stadium Taylor Swift sits, right?” Mr. Tirico said, as the cameras showed her suite and began to pull back. “We’re just sitting here watching the game. The last quarter-and-a-half, there have been people up here, and I’m like, ‘Man, they must love Jason Garrett.’ Everybody’s pointing their camera up to our booth to take a picture of Jason. And then about 10 minutes ago I was like, ‘Hey dummy, they’re taking a picture of Taylor.’”As the camera showed a wide shot of the booth, which was just above Ms. Swift’s suite, Mr. Garrett said, “And the worst part is, I’ve been waving the whole time.”Even a simple white Chiefs jacket can cause a stir, as there was speculation online that she had borrowed a coat that Mr. Kelce had recently worn. Swifties soon discovered subtle differences between the jackets.Ed Zurga/Associated PressDec. 31 — Chiefs vs. BengalsTimes shown: 3 | Total duration: 12 secondsTravis’s day: 3 catches, 16 yardsScore: Chiefs 25, Bengals 17This was a quiet day for Mr. Kelce, which led to very little mention of Ms. Swift. After a crucial defensive play by one of Mr. Kelce’s teammates late in the game, the CBS cameras showed Ms. Swift celebrating in her suite, and Mr. Romo said, “You see all the fans — and your favorite fan — all excited out here.”Ms. Swift brought several family members with her to the Chiefs game on Christmas, including her brother, Austin, who dressed as Santa Claus.Charlie Riedel/Associated PressDec. 25 — Chiefs vs. RaidersTimes shown: 3 | Total duration: 14 secondsTravis’s day: 5 catches, 44 yardsScore: Raiders 20, Chiefs 14Ms. Swift and her entire family spent Christmas with the Chiefs, and her brother, Austin, dressed as Santa Claus. But after CBS opened its broadcast with a shot of Ms. Swift in her suite, she largely disappeared, probably because Mr. Kelce played relatively poorly in a frustrating loss. The third and final time the cameras showed Ms. Swift was after a catch by Mr. Kelce in the second quarter, prompting Mr. Romo to say: “And his wife loves it — I mean girlfriend.” More

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    Gypsy Rose Blanchard and the Big Shift in True Crime

    Not long ago, true crime storytellers had little in the way of first-person footage captured in real time to rely on. Now, as much of our daily lives are documented, the genre is transforming.There’s a moment near the end of the 2017 documentary “Mommy Dead and Dearest” where Gypsy Rose Blanchard is filming her boyfriend at the time, Nicholas Godejohn, as he lies nude in a hotel room bed. A day earlier, Godejohn had stabbed to death Gypsy’s mother, Dee Dee Blanchard. The killing was part of a plot the couple hatched to free Gypsy, who was then 23, from her mother’s grip so they could be together. In the short video, we hear Gypsy make a playful sexual comment amid her copious, distinctive giggling.Dee Dee Blanchard had abused and controlled her daughter, mentally and physically, for decades. It was believed by many to be a case of Munchausen syndrome by proxy — a form of child abuse in which a caregiver might induce illness to draw public sympathy, care, concern and material gifts — and the saga captured the collective interest.The snippet is the first time we see it unfolding through Gypsy’s eyes, and the point of view serves as a glimmer of what would become one of the biggest shifts in true crime storytelling.Stories like these were once conveyed through re-enactments, dramatizations and interviews with police officers, journalists, medical professionals, family and friends. If there were primary sources, those were typically scans of photos of happy families or of grisly crime scenes underpinned by voice-over narration, exemplified on shows like “20/20,” “Dateline,” “Snapped,” “Forensic Files” and “48 hours.” Home video cameras, which became popular in the 1980s, certainly changed the true crime landscape, but those recordings were generally sparse and supplemental. In rare instances, viewers might hear directly from the perpetrators or victims in interviews often conducted years after the fact.Dee Dee Blanchard, right, with her daughter, Gypsy Rose Blanchard, who endured decades of physical and mental abuse by her mother. via The Blanchard Family/LifetimeNow we have reams of first-person digital footage, which means that viewers, more than ever, are privy to the perspectives of those directly involved, often during the period in which the crimes took place, closing the distance and making the intermediaries less essential. The case of Gypsy Rose Blanchard encapsulates the trajectory of this phenomenon. Her saga, for example, received the scripted treatment with “The Act,” a 2019 limited series on Hulu, for which Patricia Arquette won an Emmy. But those looking for a definitive, unvarnished, visceral take on the events now have options and direct channels, rendering that series as almost an afterthought.The rise of social media has, of course, accelerated this dynamic. Blanchard and Godejohn’s relationship was almost exclusively online before the murder, and Facebook posts and text messages between them were used in court by prosecutors to incriminate them. Godejohn was sentenced to life in prison; Gypsy received 10 years, of which she served about seven.She was released on Dec. 28, 2023, and the following day she posted a selfie to Instagram with the caption “First selfie of freedom,” which has gotten more than 6.5 million likes. Online, she’s been promoting her new Lifetime series, “The Prison Confessions of Gypsy Rose Blanchard.” “This docuseries chronicles my quest to expose the hidden parts of my life that have never been revealed until now,” we hear her say from prison.Blanchard and her husband married in 2022 while she was still in prison. via Gypsy Rose Blanchard and Ryan AndersonShe has quickly become a social media celebrity, with more than eight million Instagram followers and nearly 10 million on TikTok. Since her release, she has shared lighthearted videos like one with her husband, Ryan Anderson (they married in 2022 while she was in prison), at “Harry Potter and the Cursed Child” on Broadway and more serious ones, like a video in which she explains Munchausen syndrome by proxy.Technology’s influence on modern criminal investigations has become foundational in many documentaries from recent years.In the two-part HBO documentary “I Love You, Now Die: The Commonwealth v. Michelle Carter” (2019), the story is largely told through the thousands of text messages exchanged between two teenagers, Michelle Carter and Conrad Roy III, from 2012 to 2014. The text messages led up to the exact moment of Roy’s suicide. Selfie videos that Roy had posted online are also shown. Carter spent about a year in prison for her role in his death. The documentary (by Erin Lee Carr, who also directed “Mommy Dead and Dearest”) left me “spinning in circles, turning over thoughts about accountability, coercion and the nebulous boundaries of technology,” as I wrote last year.One of the highest profile murder trials in the United States in recent years — that of the disgraced lawyer Alex Murdaugh, who shot and killed his wife, Maggie, and son Paul in 2021 — ultimately rested on a staggering recording captured moments before the murders. That video, on Paul’s phone, placed the patriarch at the scene of the crime, sealing his fate: two consecutive life sentences without the possibility of parole.Alex Murdaugh, center, as seen in the Netflix docuseries “Murdaugh Murders: A Southern Scandal.” His murder trial was among the most talked about in recent years.NetflixThe use of that footage, along with abundant smartphone video that brought viewers into the world of the Murdaughs, in documentaries like Netflix’s two-season “Murdaugh Murders: A Southern Scandal,” would have been unimaginable not long ago.But perhaps no recent offering illustrates this shift like HBO’s docuseries “Love Has Won: The Cult of Mother God.” Members of the group Love Has Won live-streamed their days and nights; they filmed and posted untold hours of preachments and online manifestoes to YouTube and Instagram Live. Much of the three-episode series comprises this footage, and in turn viewers watch Amy Carlson, who called herself “Mother God,” slowly deteriorate over the course of months from the perspective of the people who were worshiping her.It’s a vantage point so unnerving and haunting, it dissolves the line between storytelling and voyeurism. When the group films her corpse, which they cart across numerous state lines, camping with it along the way, we see all that, too, through the eyes of the devotees. Several of the followers continue to promote her teachings online.Amy Carlson, center, who led a group called Love Has Won, as seen in the HBO docuseries “Love Has Won: The Cult of Mother God.”HBOIt was clear this month in the comments on Blanchard’s Instagram that many were uncomfortable with her re-emerging as a social media presence. Some found it odd that she would participate so heavily and publicly immediately after her release. Others thought it was in bad taste for her to celebrate her freedom while Godejohn serves a life sentence.The greatest criticism of the true crime genre is that horrors are being repackaged as guilty-pleasure entertainment, allowing viewers to get close — but not too close — to terrible things. And perhaps the best defense of true crime is that it allows viewers to process the scary underbelly of our world safely. It is a strange dance between knowledge, observation and entertainment.Either way, the fourth wall is cracking, and perhaps the discomfort this might cause has been a long time coming. More