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    Ari Aster’s ‘Eddington’ Polarizes Critics at Cannes Film Festival

    Set in the pandemic’s early days, the noted horror director’s Covid comedy satirizes the national mood during lockdown. Reactions have been polarizing.Ari Aster, the director behind the horror films “Hereditary” and “Midsommar,” is no stranger to upsetting an audience. But with his new movie “Eddington,” which premiered Friday at the Cannes Film Festival, Aster may have devised his most harrowing cinematic experience yet: forcing us to relive 2020.Set in May of that year, the film chronicles a clash in the fictional New Mexico town of Eddington between the conservative sheriff, Joe Cross (Joaquin Phoenix), and the liberal mayor, Ted Garcia (Pedro Pascal), after the latter insists on mask mandates and lockdowns during the pandemic. “There is no Covid in Eddington,” insists Cross as he refuses to wear a mask, though his mounting frustration with Garcia may also have something to do with the mayor’s complicated romantic past with Cross’s wife (Emma Stone).To bring his enemy down a peg, Cross decides to mount his own mayoral campaign, plastering his cop car with misspelled banners (“Your Being Manipulated”) and spouting conspiracy theories about his opponent that he posts online. But as Eddington erupts in Black Lives Matter protests and teenage activists begin training their phone camera on Cross, hoping to catch him in an act of police brutality, the escalating tensions in this small town threaten to claim lives right and left.Aster is keen to zero in on the moment when our fraying social fabric was torn apart, and the movie has already inspired battle lines as strongly drawn as the political sides “Eddington” means to satirize. Early reviews have been wildly mixed, and at a cocktail party that followed the Cannes press screening, I watched several critics square off: Though fans of the film found it bold and daring, detractors called it unfunny, too on the nose, and more eager to lampoon annoying liberals than the conservative main characters.Will audiences be anxious to revisit the fraught early months of the pandemic when “Eddington” hits theaters on July 18? The cast is stocked with A-listers — in addition to Phoenix, Pascal, and Stone, Austin Butler also appears as an online cult leader — but for all of Aster’s evident craft, “Eddington” is hardly a crowd-pleaser. He initially keeps the proceedings relatively grounded, but the second half of the film spirals into a sort of absurd surrealism that will feel familiar to anyone who saw Aster’s last movie, “Beau is Afraid” (2023).Then again, that might not be many people: “Beau,” which also starred Phoenix, was a costly box-office bust that reportedly lost A24 around $35 million. To release Aster’s next movie during the superhero-laden summer season is a risky bit of counterprogramming: Amid all those capes, could audiences be enticed to choose masks instead? More

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    5 Takeaways From Cassie’s Final Day of Testimony in Sean ‘Diddy’ Combs Trial

    Casandra Ventura, the singer known professionally as Cassie, ended four days of sometimes grueling testimony about being abused by Mr. Combs.The first week of Sean Combs’s sex-trafficking trial was dominated by four days of searing testimony by Casandra Ventura, the singer known professionally as Cassie, who told the jury that he had raped and abused her and subjected her to degrading marathon sex sessions with male prostitutes known as “freak-offs.”Ms. Ventura, who is eight and a half months pregnant, stepped down from the witness stand on Friday afternoon after a long and sometimes meandering cross-examination by lawyers for Mr. Combs, who has pleaded not guilty.Here are five takeaways:Mr. Combs’s lawyers suggested she was a willing participant in the “freak-offs.”In contrast to the prosecution’s questioning of Ms. Ventura, which traced a narrative of a troubled relationship from its origins until a painful collapse after years of abuse, the defense’s cross-examination frequently jumped back and forth in time. By zooming in on dozens of text messages from throughout her years in a relationship with Mr. Combs, his lawyers tried to paint a very different picture of the freak-offs.In many of those messages, which could be flirtatious in tone or matter-of-fact in setting up logistics, his lawyers noted, Ms. Ventura appeared to express willingness, or even excitement, about the sexual encounters.But Ms. Ventura pushed back, saying that she was just acceding to his requests. “I would say loving FOs were just words at that point,” she said, commenting on a 2017 text message chain about planning a freak-off, or “FO.”The sometimes repetitive pattern of the cross-examination led to a complaint by prosecutors. In a letter to the judge early Friday, they said that the “inefficiency of cross-examination” raised the possibility of a mistrial if Ms. Ventura went into labor before the questioning was completed. The judge urged the parties to stick to a schedule of completing Ms. Ventura’s testimony by the end of the week, and it ended midafternoon Friday.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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    Bruce Springsteen’s Rowdy ‘Repo Man,’ Plus 11 More New Songs

    Hear tracks by S.G. Goodman, the Lemonheads, Rihanna, Lido Pimienta and more.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.Bruce Springsteen, ‘Repo Man’While Bruce Springsteen was recording the somber songs on “The Ghost of Tom Joad” in 1995, he was also, it’s now revealed, blowing off steam with rowdy, lighthearted songs like “Repo Man,” the latest preview of his archival collection “Tracks II: The Lost Albums.” It’s a Chuck Berry-meets-Buck Owens country-rocker that has Springsteen hollering, “You shouldn’t have bought it if you couldn’t have paid!” It’s also a showcase for skidding, careening, scene-stealing solos by Marty Rifkin on pedal steel guitar, abetting Springsteen’s stunt driving as he turns class warfare into comedy.S.G. Goodman, ‘Snapping Turtle’“I grew up hard on bottom land where only crops should grow / Watched people reap what the demons sowed,” S.G. Goodman sings in “Snapping Turtle,” from an album due June 20. She’s from Kentucky, where she grew up and still lives; the cracks and scratches in her voice hark back to Appalachian roots. “Snapping Turtle” is a stoic, six-minute march, a two-chord jam with eerie resonances opening up under drums and guitars. Goodman sings about memories she can’t escape — including a friend who had “a life beat down” — and the bitter lessons of the small town “where my mind gets stuck.”Sofi Tukker featuring Liniker, ‘Intensity’Sofi Tukker — the duo of Sophie Hawley-Weld and Tucker Halpern — sets aside its usual electronic production on its new album, “Butter.” Instead, they visited Brazil, enlisted the producer Marcio Arantes to assemble a mostly acoustic studio band and invited Brazilian musicians like Seu Jorge as guest singers. Most of “Butter” remakes (and unplugs) songs from the duo’s 2024 album, “Bread.” But “Intensity” — with guest vocals from the Brazilian songwriter Liniker — is a new song. Over syncopated acoustic guitar and a crisply sputtering, samba-rooted beat, Hawley-Weld and Liniker celebrate a partnership that’s “way too much / It’s the right amount for me.”yeule, ‘Dudu’Named after the nonsense syllables in its hook, “Dudu” has such a blithe, shiny pop facade that the verses could easily go unnoticed. Yeule — a style-hopping, electronics-friendly songwriter and producer from Singapore — sings about unrequited love that’s turned pathological. “Overdosed from the pain / Woke up in a bed, restrained,” yeule sings. “I screamed and screamed and screamed your name.” But the vocals are so nonchalant, surrounded by whizzing synthesizers and kicked along by a robust backbeat, that the heartache almost evaporates.DannyLux, ‘Sirena’The Mexican American songwriter DannyLux has thrived by playing up his sensitive side, and “Sirena,” the single from his new album “Leyenda,” is no exception. In a waltzing corrido that updates the traditional acoustic guitars with a sheen of reverb, extra vocal harmonies and a sudden shift of texture before the second verse, he insists he’s been hypnotized forever by a woman’s beauty — though he also reminds her that “Other guys would put a price on your body, a price on your kisses.” He’s more sensitive, of course.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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    At the Cannes Film Festival, the Mood Is Uncertain and Unsettled

    The threat of tariffs and the struggles of Hollywood have dampened what is usually an international party. Even the early standouts are somber.For days leading up to the opening of the Cannes Film Festival, it seemed that rain would dampen the 78th edition. The film gods spared the worst. The red carpet remained dry Tuesday and so did the beautiful people parading into the Lumière, the grand auditorium where each year cheek-kissing, glad-handing stars and deal makers get this generally fizzy party going. At the 2024 edition, a barefoot chanteuse had sung Bowie’s “Modern Love” to Greta Gerwig, the president of the jury, delighting her and everyone else in attendance. This year, by contrast, the atmosphere inside the room was moody and felt more uncertain than the weather.There were the usual smiles, couture gowns and starry entrances. Yet overall it was a fairly sober affair, and only partly because the evening featured a poignant tribute to David Lynch, who died in January. When Juliette Binoche, the president of the main competition jury, took the stage, she spoke about the obligation of artists to testify on behalf of others, mentioning the hostages taken by Hamas on Oct. 7 and quoting the Palestinian photojournalist Fatima Hassouna, who in April was killed with 10 family members in an Israeli airstrike. Hassouna is featured in a documentary here, “Put Your Soul on Your Hand and Walk.”Later during the ceremony, Robert De Niro received an honorary Palme d’Or (handed to him by Leonardo DiCaprio), and spoke of democracy and the arts. “America’s philistine president has had himself appointed the head of one of our premiere cultural institutions,” he said, an apparent reference to President Trump’s naming himself chairman of the Kennedy Center in February. De Niro then referenced the topic that started phones pinging throughout the entertainment industry on May 4, and led to stark headlines and head-scratching.Leonardo DiCaprio giving Robert De Niro an honorary Palme d’Or.Sameer Al-Doumy/Agence France-Presse — Getty ImagesTo wit, President Trump’s May 4 announcement on social media that he was imposing a 100 percent tariff on movies “produced in foreign lands,” an issue he called a national security threat. The next day, a White House spokesman, Kush Desai, said that no final decisions had been made on such tariffs, but that the administration was “exploring all options to deliver on President Trump’s directive to safeguard our country’s national and economic security while Making Hollywood Great Again.”Like other film lovers, I responded to this tariff threat with a mixture of concern and confusion. Among other things, how such tariffs would work is baffling given the movie world’s complexity and internationalism, or how it’s possible to even define which films are “produced in foreign lands.” Marvel’s “Thunderbolts*” was partly shot outside the United States; when Florence Pugh steps off a skyscraper in the movie, she topples from a building in Kuala Lumpur, Malaysia. The specter of retaliatory tariffs from other countries is another concern, given how reliant American companies are on the global market. In 2024, “Inside Out 2” was the top-grossing movie both domestically and overseas, with 61.6 percent of its overall box office coming from abroad.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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    Who is Dawn Richard, the Danity Kane Singer Who Will Testify at Sean ‘Diddy’ Combs’s Trial?

    The musician performed in two of the mogul’s best-known recent acts, Danity Kane and Diddy — Dirty Money. She sued him last year, alleging threats and groping.Dawn Richard, the singer expected to take the stand as a witness at the Sean Combs trial after Casandra Ventura, was part of two of Mr. Combs’s best-known acts over the last two decades. She was in the R&B girl group Danity Kane, familiar to viewers of his MTV reality show “Making the Band,” and a trio called Diddy — Dirty Money.And like Ms. Ventura, she has accused Mr. Combs of misconduct during her time with him, alleging in a lawsuit filed last year that he threatened her, groped her and would fly into “frenzied, unpredictable rages” while he oversaw her career. In response to that suit, a lawyer for Mr. Combs said in a statement that Ms. Richard had “manufactured a series of false claims all in the hopes of trying to get a payday.”Danity Kane was assembled by Mr. Combs during the third iteration of “Making the Band,” which began in 2005. On the show, 11 finalists were winnowed to a final team of five, their name inspired by a superhero character that Ms. Richard had drawn.Ms. Richard, now 41, grew up in New Orleans, and she was the subject of the premiere episode of the show’s third season, as the group visited her hometown and surveyed the destruction caused by Hurricane Katrina. That season ended with the quintet’s filming a video for its debut single, “Show Stopper,” which reached No. 8 on Billboard’s Hot 100 chart.Danity Kane opened for Christina Aguilera on tour and released two albums before going on a hiatus in 2009. Then, Ms. Richard remained in Mr. Combs’s musical tent as part of Diddy — Dirty Money, a trio that also featured Mr. Combs as well as another singer, Kalenna Harper.After one album, Mr. Combs disbanded the trio — over email — but Danity Kane reunited, releasing a third and final album in 2014. After another break, Danity Kane was active again, from 2018 to 2020.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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    The defense is expected to continue grilling Cassie on the hotel assault.

    The first week of Sean Combs’s sex-trafficking trial was dominated by four days of searing testimony by Casandra Ventura, the singer known professionally as Cassie, who told the jury that he had raped and abused her and subjected her to degrading marathon sex sessions with male prostitutes known as “freak-offs.”Ms. Ventura, who is eight and a half months pregnant, stepped down from the witness stand on Friday afternoon after a long and sometimes meandering cross-examination by lawyers for Mr. Combs, who has pleaded not guilty.Here are five takeaways:Mr. Combs’s lawyers suggested she was a willing participant in the “freak-offs.”In contrast to the prosecution’s questioning of Ms. Ventura, which traced a narrative of a troubled relationship from its origins until a painful collapse after years of abuse, the defense’s cross-examination frequently jumped back and forth in time. By zooming in on dozens of text messages from throughout her years in a relationship with Mr. Combs, his lawyers tried to paint a very different picture of the freak-offs.In many of those messages, which could be flirtatious in tone or matter-of-fact in setting up logistics, his lawyers noted, Ms. Ventura appeared to express willingness, or even excitement, about the sexual encounters.But Ms. Ventura pushed back, saying that she was just acceding to his requests. “I would say loving FOs were just words at that point,” she said, commenting on a 2017 text message chain about planning a freak-off, or “FO.”The sometimes repetitive pattern of the cross-examination led to a complaint by prosecutors. In a letter to the judge early Friday, they said that the “inefficiency of cross-examination” raised the possibility of a mistrial if Ms. Ventura went into labor before the questioning was completed. The judge urged the parties to stick to a schedule of completing Ms. Ventura’s testimony by the end of the week, and it ended midafternoon Friday.Cassie said she would gladly “give that money back if I never had to have freak-offs.”During Ms. Ventura’s testimony, she revealed that Mr. Combs had paid her $20 million to settle a bombshell lawsuit she filed against him in November 2023.Under questioning from Mr. Combs’s lawyers, she revealed a second settlement: with InterContinental, the company that owned the hotel where Mr. Combs assaulted her in 2016. She testified that she had reached an agreement with the company over the past month and that she expects to receive about $10 million.The defense used those settlement figures to suggest that Ms. Ventura had been motivated to go public with her account of abuse in the relationship because she was experiencing “financial issues,” at a time when she and her family had moved into her parents’ home in Connecticut.Ms. Ventura denied that she had been motivated by money problems. She said that she had used her parents’s home temporarily during a move to the East Coast.When the prosecutor Emily A. Johnson got a chance to question her again, she asked whether she would give the millions back if it meant never having had to participate in the sexual encounters at the center of her testimony.“I’d give that money back if I never had to have freak-offs,” Ms. Ventura said.Cassie was mostly calm, but wept a few times on the witness stand.Ms. Ventura remained largely dispassionate throughout her hours of testimony this week, speaking in a soft but firm voice as she recounted incidents like Mr. Combs’s violence and her experience of degrading incidents like being urinated on during freak-off sessions. In the witness box, she sometimes placed a hand on her belly as she shifted around or got up during breaks in testimony.On the stand, she frequently dabbed her eyes with a tissue but wept on only a few, brief occasions. She cried when saying she had considered suicide years after leaving Mr. Combs, and toward the end of her testimony on Friday, when she talked about Mr. Combs beating her during freak-offs. A defense lawyer then asked if she needed a break. “You can continue,” she said.Baby oil and drugs were found in the hotel where Mr. Combs was arrested last year.The government’s fourth witness was Yasin Binda, a special agent with Homeland Security Investigations, who searched Mr. Combs’s room at the Park Hyatt hotel in Manhattan, where he was arrested in September 2024.Mr. Combs had traveled to New York expecting to turn himself into the authorities. But he was arrested in the lobby. Inside his hotel room, Ms. Binda testified, she found baby oil, the lubricant Astroglide, a “mood lighting” device and two small baggies of pink powder. One tested positive for ketamine and the other for ketamine and MDMA.She also found a medication bottle for a benzodiazepine with the prescription made out to Frank Black — an alias that Ms. Ventura testified that Mr. Combs used. Ms. Binda also testified that a fanny pack with $9,000 in cash was hanging off the bed.What’s next in the case?Much of Ms. Ventura’s testimony was focused on the government’s allegations that Mr. Combs’s sex-trafficked her throughout their yearslong relationship. But the case against him is much broader than that, accusing him of running a criminal enterprise in which he and some of his employees conspired to commit a series of crimes over two decades.While questioning Ms. Ventura, the government laid the groundwork for trying to prove several of those crimes. Prosecutors also asked her to identify employees and associates of Mr. Combs who were asked to do his bidding.As the case proceeds, the prosecution is expected to try to prove that an inner circle of bodyguards and high-ranking employees helped him commit crimes, including kidnapping, arson, drug violations and sex crimes. The jury is also expected to hear from at least two other women whose accusations of sexual coercion are at the heart of the government’s case.The defense is expected to try to flesh out the argument they made in their opening statements, that Mr. Combs is a flawed and sometimes violent man but that he is not guilty of a racketeering conspiracy or sex trafficking.Anusha Bayya More

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    Chris Brown Arrested in Connection With 2023 Assault, British Authorities Say

    The R&B singer, who has a history of violent episodes, was charged with grievous bodily harm.British prosecutors on Thursday arrested and charged Chris Brown, the R&B singer, with grievous bodily harm and are holding him in custody.Brown, 36, was charged over an assault that reportedly took place at a venue in Hanover Square in London, on Feb. 19, 2023, according to the Metropolitan Police. He remains in custody and was set to appear at Manchester Magistrates’ Court at 10 a.m. on Friday, the police said.A news release from prosecutors on Thursday gave no further details. Under British law, news outlets are not allowed to publish details of an incident that may prejudice any trial once someone has been charged.A lawyer and a talent agency that represents Brown did not immediately respond to emails and calls seeking comment on Thursday night.Brown has a history of violent episodes and has been accused of violence against women multiple times. In 2014, he pleaded guilty to misdemeanor assault after assaulting a man outside of a hotel in Washington the previous year. In 2018, a woman sued Brown, saying he held her against her will at his Los Angeles house while a friend of his raped her; that lawsuit was settled out of court in 2020. In 2009, Brown pleaded guilty to assaulting Rihanna, his girlfriend at the time, in his car. He and received a sentence of five years’ probation. He has also been accused of throwing a rock through his mother’s car window in 2013 and punching a woman at a Las Vegas nightclub in 2016.Brown’s songs have landed him 17 Billboard Top 10 hits, most of which were released between 2005 and 2015.Hank Sanders More

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    ‘Thunderbolts’ Director Discusses Movie Ending and Changes Made During Testing

    The filmmaker Jake Schreier explains how a test of the film led to a change in the ending and other developments.When the director Jake Schreier spoke with me last weekend about his new movie “Thunderbolts*,” he could barely believe the Marvel blockbuster had actually come out.“It’s strange to work for three and a half years on something and then make peace with it being in the world,” he said. “You work on these movies right up until the deadline. We only finished this thing maybe three weeks ago and even for the home version, I was still tweaking the effect shots two days ago in my hotel room.”But now that the movie — about a team-up of Florence Pugh’s Yelena Belova, Sebastian Stan’s Bucky Barnes and other rogues — has made its way into theaters, Schreier was able to discuss some of its late twists, including the cheeky new title change teased by that asterisk.Spoilers will follow.The decision to add the asterisk was part of Schreier’s initial pitch for “Thunderbolts*,” he told me. Still, he was surprised by just how willing the Marvel Studios president, Kevin Feige, was to commit to a marketing change that has now retitled the movie “The New Avengers.”Recently rumored to be in negotiations to direct Marvel’s forthcoming “X-Men” reboot, Schreier had been on Marvel’s radar for a while. After his breakout film, “Robot & Frank,” premiered at the Sundance Film Festival in 2012, he met with the studio about potential directing opportunities and worked on second-unit photography for “Spider-Man: Homecoming,” directed by his college friend Jon Watts. Still, Schreier didn’t feel quite ready to take on a project so huge until his acclaimed work on the Netflix series “Beef.”But there was something else about this project that made it the right opening salvo with the studio. “The main thing is just if a movie has Florence Pugh in it, you should try to direct it,” he 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