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      ‘What About Us?’ Strikes Leave Other Hollywood Workers Reeling.

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      The lives of hundreds of thousands of crew members have been upended, and even a deal between the actors and the studios might not help much in the short term.Katie Reis has been a Hollywood lighting technician for 27 years, rigging equipment for movies like “Independence Day” and TV shows like “Quantum Leap.” But she hasn’t had a paycheck since May, when the first of two strikes — screenwriters, then actors — forced cameras to stop rolling.Ms. Reis, 60, has since been turned down for jobs at Target and Whole Foods. She is now looking into seasonal work at the mall.Her son Alex, a high school senior, recently had to go without new shoes for the start of classes. “If I go into Alex’s college fund, I have probably four, five months left,” she said. “But then I have nothing.”The recently settled screenwriters’ strike and the continuing actors’ strike have upended the lives of hundreds of thousands of crew members — the entertainment industry’s equivalent of blue-collar workers — and many are growing desperate for work. Caught in the crossfire for more than five months, they have drawn down savings accounts that in some cases were already diminished because of the pandemic. Some have been unable to afford groceries. A few have lost their homes.The International Alliance of Theatrical Stage Employees, for example, which represents 170,000 crew members in North America, estimated that its West Coast members alone lost $1.4 billion in wages between May and Sept. 16, the most recent date for which data was available. The extreme loss of hours worked, in turn, hurts funding for pension and health care plans.Even if entertainment companies and the actors’ union come to an agreement soon — which became less likely after the collapse of negotiations this week — production is not expected to return to normal until January at the earliest, in part because of the time it takes to reassemble creative teams, a process complicated by the coming holidays. Preproduction (before anyone gathers on a set) for new shows can take up to 12 weeks, with movies taking roughly 16 weeks.“I’m trying to manage my panic because it’s not going to be over when the strikes are over,” said Dallin James, a hairstylist who counts on red carpet premieres and other studio-related work for about 75 percent of his income.Dallin James, a hairstylist, said workers like him were “collateral damage” in the Hollywood strikes.Philip Cheung for The New York TimesThe Writers Guild of America, which represents 11,500 screenwriters, reached a tentative agreement with studios on Sept. 24 and soon called off its 148-day strike. Writers have celebrated their new contract as the equivalent of winning a Super Bowl, describing the pay raises and improved working conditions they secured as “exceptional.” The Writers Guild said on Monday that its members had ratified the contract with 99 percent voting in favor.The actors’ union, SAG-AFTRA, appeared to be closing in on a deal of its own after being on strike since July 14, clearing the way for Hollywood’s assembly lines to grind back into motion. But talks between the guild and the studios broke down after a session on Wednesday, creating more uncertainty. The actors have asked for wage increases, including an 11 percent raise in the first year of a new contract; a revenue-sharing agreement for streaming shows and films; and guarantees that studios will not use artificial intelligence tools to create digital replicas of their likenesses without payment or approval.Cue whipsawing emotions for entertainment workers who didn’t have a say in the strikes and who won’t be receiving a pay increase when they return to work.“I understand why they had to go on strike,” Mr. James said. “On the other hand, what about us? We haven’t really been considered in all of this. It feels like we’re collateral damage.”The Alliance of Motion Picture and Television Producers, which bargains with unions on behalf of the major entertainment companies, did not respond to a request for comment for this article.More than two million Americans work in jobs directly or indirectly related to making TV shows and films, according to the Motion Picture Association, a trade organization. They include writers, actors and other “above the line” creative personnel, along with studio executives. But a vast majority contribute in more humble ways. They are set dressers, camera operators, carpenters, location scouts, painters, costume designers, visual effects artists, stunt doubles, janitors, payroll clerks, assistants and chauffeurs.A big-budget superhero movie can easily employ 3,000 people, with the cast numbering fewer than 100, including credited extras.Gabriel Sanders, a longtime boom mic operator in Georgia, has started teaching fitness and yoga classes.Audra Melton for The New York Times“It’s desperate — our crews are really suffering,” said the actress Annette Bening, who is the chair of the Entertainment Community Fund, a nonprofit that provides emergency financial assistance and other services to workers in the industry. “These are people who are hardworking, who have a lot of pride. They are not used to being in a position of having to ask for help. But that’s where we are now.”With her husband, Warren Beatty, Ms. Bening has been among the celebrity donors to the fund, which has distributed more than $8.5 million to roughly 4,000 film and television workers since screenwriters went on strike. (That breaks down to $560,000 a week, compared with about $75,000 a week before the strikes.) The organization also hosts online workshops to help Hollywood workers navigate eviction notices, among other topics.“This is going to have a long tail,” Ms. Bening said. “We still expect a significant increase of inquiries in the coming months, even once work resumes.” (Ms. Bening, a four-time Oscar nominee who stars in the coming Netflix film “Nyad,” about the marathon swimmer Diana Nyad, has walked picket lines with other actors in recent months. She said the actors’ strike was “imperative” given the deterioration of working conditions and compensation levels in the streaming era.)Other Hollywood nonprofits have also been distributing money and holding food drives, including the Motion Picture & Television Fund and the SAG-AFTRA Foundation, a charity that provides financial assistance to workaday performers. The foundation, which is associated with the actors’ union but is run independently, has been processing more than 30 times its usual number of applications for emergency aid, or more than 400 a week.Starting on Sept. 1, Los Angeles-area workers enrolled in the Motion Picture Industry Pension Plan were allowed to withdraw up to $20,000 each for financial hardship. By Sept. 8, workers had pulled roughly $45 million, according to a document compiled by plan administrators that was viewed by The New York Times. A spokesman for the plan said no updated information was available.Robin Urdang, a music supervisor in Los Angeles whose credits include “The Marvelous Mrs. Maisel” and the film “Call Me by Your Name,” has no pension plan to fall back on. To pay for living expenses, Ms. Urdang has been dipping into money she had been saving for a down payment on a house.“It’s depressing,” she said, adding that she typically works on four to seven projects at once. Ms. Urdang is still working a bit, including on a series for Amazon that was past the filming phase of production when actors went on strike. But she spends much of her day crocheting sweaters and reading books.Even so, Ms. Urdang said she sympathized with the writers and actors. Streaming has also changed her fortunes considerably. She used to do a lot of work on broadcast television, where an episode would go from script to on air in two weeks. (Most music supervisors, who select and license songs, are paid half their fee at the start of production and the other half when episodes are completed.) Now she does the same amount of work, but the payment schedule on an eight-episode streaming show is spread out over a year.“So I understand where they’re coming from,” she said.The studio shutdown has been felt most severely in California and New York. The strikes have cost the California economy more than $5 billion, according to Gov. Gavin Newsom. But the strikes have also darkened soundstages across the country, as well as in Canada and England. Georgia, for instance, has three million square feet of soundstage space.Gabriel Sanders, who lives in Decatur, Ga., with his wife and two daughters, is a longtime boom mic operator who has worked on films like “Black Panther: Wakanda Forever” and series like “Law & Order: Organized Crime.” As the strikes have dragged on, Mr. Sanders has turned to teaching fitness and yoga classes.“It’s good for my soul, but it doesn’t pay very well,” he said.His wife, Carey Yaruss Sanders, a voice instructor, has started a pet-sitting and dog-walking business to help make ends meet.Mr. Sanders said there had been “a lot of internal fighting” in the crew community about the strikes, with some people, like him, cheering on the actors and writers and others saying, “Enough already, we just need to get back to work.”“I have no resentment — do what you have to do to protect your rights,” Mr. Sanders said, referring to the strikes. “But that doesn’t mean it has been easy.” More

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      Talks Between Striking Actors and Studios Are Suspended

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      The sides said they remained far apart on the most significant issues, dealing a blow to hopes that the entertainment industry could soon fully roar back to life.Negotiations between the major entertainment studios and the union representing tens of thousands of actors have collapsed, with both sides saying on Thursday morning that they remained far apart on the most significant issues.The Alliance of Motion Picture and Television Producers, which bargains on behalf of the studios, said that it was suspending talks because they were “no longer moving us in a productive direction” after a session on Wednesday. SAG-AFTRA, the actors’ union, which has been on strike since July, accused studio executives of “bully tactics,” and said the studios recently presented an offer “that was, shockingly, worth less than they proposed before the strike began.”The collapse of the negotiations is a significant setback for the entertainment industry, which has essentially been at a standstill for months because of dual strikes by actors and screenwriters. On Monday, more than 8,000 screenwriters ratified a new three-year contract with the studio alliance, formally ending their monthslong labor dispute. There was optimism that a deal with the actors would follow and that Hollywood could soon fully roar back to life.But with actors continuing to strike, most television and movie production remains suspended. The financial fallout has been significant. The California economy has lost an estimated $5 billion. Tens of thousands of behind-the-scenes workers have been out of work for months. Share prices for many major media companies have dropped, and now there is a further threat to next year’s box office results.Like their counterparts in the screenwriters guild, leaders of the actors’ union have called this moment “existential.” They are seeking wage increases, as well as protections around the use of artificial intelligence. Actors have now been on strike for 91 days; screenwriters recently returned to work after a 148-day walkout. The last time both unions had been on strike at the same time was 1960.When negotiations between the actors’ union and the studios resumed last week — just days after the studios and screenwriters had reached a tentative agreement — it represented the first time that the sides had met since the actors went on strike on July 14. There were five bargaining sessions, and many industry observers believed that the talks would soon lead to a deal.In a statement released early Thursday morning, the studio alliance said it had offered wage increases, met “nearly all of the union’s demands on casting” and proposed further protections around the use of A.I. The alliance also said it offered “the same terms that were ratified” by both the writers’ and directors’ unions regarding wage increases and streaming royalties.The alliance also said, however, that the actors’ union wanted a viewership bonus that “would cost more than $800 million per year, which would create an untenable economic burden.”Union leaders accused studio executives of walking away from the bargaining table “after refusing to counter our latest offer.”“These companies refuse to protect performers from being replaced by artificial intelligence, they refuse to increase your wages to keep up with inflation, and they refuse to share a tiny portion of the immense revenue YOUR work generates for them,” union officials said in a statement addressed to members. “Our resolve is unwavering,” the statement continued. “Join us on picket lines and at solidarity events around the country and let your voices be heard.” More

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      ‘The Road Dance’ Review: A World War I Weepie

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      Based on a Scottish best seller, the movie is a standard period drama that arrives at hard truths with a hammy delivery.Set in the Outer Hebrides, a verdant archipelago to the west of mainland Scotland, “The Road Dance” is a standard period drama that arrives at hard truths with a hammy delivery.Kirsty (Hermione Corfield) is a restless beauty living with her sister and mother in a remote crofting (small tenant farming) community. It’s the years around World War I, and forced conscriptions are sweeping the nation — including Kirsty’s beau, a poetry-reading softy named Murdo (Will Fletcher).Before Murdo and three other local men are shipped off to the Western Front, the village honors them with a night of dance and drink. It’s here that Kirsty will be violently raped, an assault which the director, Richie Adams, depicts blurrily, unfolding in darkness.Adapted from the 2002 Scottish best seller by John MacKay, this run-of-the-mill weepie spends the bulk of its time detailing the aftermath of the attack. Kirsty becomes pregnant, and she’s forced to conceal not just her physical state but her mental trauma from the snooping members of her ultrareligious town. Cryptic sermon scenes about sinners and Satan play throughout Kirsty’s ordeal, raising the stakes — though Kirsty’s not the only one who has gone through hell and back in these parts, as evidenced by a whisper network of wizened women who band together to pull her through.The culprit remains unknown until the bitter end, a revelation served with a bland sort of twist — that any man is capable of such violence. It’s an uninspired take, along with the use of rape as a plot device.Shifting between stagy sincerity and startling realism (the labor scene is particularly colorful), “The Road Dance” is a vividly rendered, if ultimately schematic portrait of feminine resilience.The Road DanceNot rated. Running time: 1 hour 56 minutes. In theaters. More

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      ‘Reality Winner’ Review: Caught in the Cross Hairs

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      Sonia Kennebeck’s documentary unpacks the circumstances surrounding its subject, but fails to crack her complexity.It is not always fruitful to compare a documentary about an event with a narrative film portraying that event. Yet “Reality Winner,” Sonia Kennebeck’s hazy nonfiction chronicle of Reality Winner — a National Security Agency contractor who was sentenced under the Espionage Act in 2018 when she was 26 — and this year’s film “Reality,” a searing dramatization of her interrogation, form a tidy double feature. The latter eschews context to paint an evocative real-time picture of a young woman in the F.B.I.’s cross hairs; the former painstakingly maps out the state of affairs surrounding Winner, only to see her personhood trickle away, like water cupped in one’s palms.Rotating among a handful of timelines, Kennebeck’s documentary spends the most time with Winner’s parents and sister as they push for Winner to receive a fair trial. These scenes are interspersed with blurred re-enactments (not unlike those starring Sydney Sweeney in “Reality”) and actual field-recording audio, as well as an interview with Winner, who orates directly into the camera à la Errol Morris’s Interrotron technique.One of the more troubling aspects of this complex case was The Intercept’s mishandling of the leaked document, and “Reality Winner” unpacks how The Intercept’s actions contributed to exposing Winner’s identity to the N.S.A. Indeed, the documentary’s most valuable testimonies come from other whistle-blowers (including Edward Snowden) who come across as extraordinarily well equipped to analyze the story’s knottier details.Despite this access, “Reality Winner” fails to decode its ideologically heterodox subject. The film is clear in showing how the media put her into boxes: a traitor, a terrorist, a progressive, an innocent, a lost cause. But who is Reality Winner? This documentary doesn’t dig deeper than her patently well-meaning exterior.Reality WinnerNot rated. Running time: 1 hour 33 minutes. In theaters. More

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      ‘Plan C’ Review: Abortion by Mail

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      In this documentary by Tracy Droz Tragos, each of the film’s subjects considers how far past the line of legal comfort they can afford to cross.The director Tracy Droz Tragos anchors her abortion documentary “Plan C” on a grass-roots organization by the same name. At the center of the organization is Francine Coeytaux, a public health activist in the United States, previously known for her campaign to get contraceptive pills sold over the counter at pharmacies.Under the leadership of Coeytaux and Elisa Wells, the group, which was founded in 2015, focuses on providing information to patients about medical suppliers and providers who can prescribe at-home abortion pills — medication which can safely end a pregnancy up to 12 weeks.The footage of Plan C’s activities covers four years, beginning in 2019 and extending after the Supreme Court overturned Roe v. Wade in 2022. Some scenes of abortion providers at work are shot vérité style, while in others Coeytaux and her associates speak directly to the camera about their efforts to assist people seeking abortions.Plan C’s methods are mobile, often including telehealth or prescriptions delivered by mail, and the group’s actions come with both legal and physical risks.There are over a dozen doctors, abortion rights advocates and patients interviewed in this film, and most don’t reveal their full names for safety reasons, fearing violence from anti-abortion activists or prosecution in states such as Texas, where residents can receive rewards for reporting abortion providers. Some don’t reveal their faces, and Tragos blurs their images or conceals identifying features.At times, all of the secrecy and legal caution can make it hard to understand the complex logistics of getting a legal abortion in the United States. But the risks involved are bracingly apparent, and the documentary benefits from its attempts to capture Plan C’s high-stakes operation in progress.As people navigate this new reality, each of the film’s subjects considers how far past the line of legal comfort they can afford to cross.Plan CNot rated. Running time: 1 hour 39 minutes. In theaters. More

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      ‘The Mission’ Review: Blinded by the Light

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      A documentary tries to bring context to the actions of John Allen Chau, an American missionary who was killed in 2018.The simplest way to look at the actions of John Allen Chau, an American who was killed in 2018 trying to introduce Christianity to the inhabitants of a remote island in the Indian Ocean, is that they were reckless and arrogant.Nothing in “The Mission,” a documentary from Jesse Moss and Amanda McBaine, proves inconsistent with that assessment. But the movie strives to add context to what one interviewee calls Chau’s “horse-blinder focus,” which apparently let him think that he could convert the people who lived on North Sentinel Island in the Andaman Sea. The islanders had long resisted outside contact.The film paints Chau, who died at 26, as a young man who had absorbed colonial fantasies. He didn’t act alone; at crucial points, he received help from others who shared his beliefs. Some of Chau’s friends and associates still speak of him with admiration.In voice-over, actors read excerpts from Chau’s writing and from a letter that his father, Patrick Chau, a psychiatrist, shared with the filmmakers. That the North Sentinelese’s perspective is absent is not lost on the directors. (“We’re telling a story about us, not about them,” cautions Adam Goodheart, a historian who has written about North Sentinel Island, near the end.) The most barbed aspect of the movie, a National Geographic release, is its acknowledgment of the role that National Geographic itself has played in exoticizing groups like the North Sentinelese.Some of this background comes off like making excuses for Chau’s fanaticism. More helpful is Dan Everett, a linguist who spent years trying to convert the Pirahã people of Brazil and ultimately changed his perspective. Chillingly, Everett notes that Chau’s supporters were simultaneously saddened and elated by the death. “He will become famous in the church,” Everett says. That could be bad news for the North Sentinelese.The MissionRated PG-13 for exoticized nudity. Running time: 1 hour 43 minutes. In theaters. More

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      ‘Divinity’ Review: Missed Conception

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      An immortality drug causes social disruption in this ludicrously dystopian sci-fi experiment.In an old-as-time dichotomy, the women in Eddie Alcazar’s “Divinity” fall into roughly two categories: pliable prostitutes or those who have been deemed “pure.” The first group wears slinky, sparkly onesies; the second sports unadorned, flesh-toned bodysuits that render them as uniform as the spermatozoa in Woody Allen’s “Everything You Always Wanted to Know About Sex (but Were Afraid to Ask)” (1972). For a movie concerned primarily with reproduction, the connection seems apt.A misbegotten blend of the futuristic and the antiquated, “Divinity” is an unintentionally comical sci-fi diatribe obsessed with beautiful bodies, bickering brothers and biblical symbolism. The title refers to a drug that promises to bestow immortality, with the unfortunate wrinkle that users — apparently most of humanity — are rendered sterile. Men are transformed into obscenely pumped poseurs, pleasured by gorgeous women with zero body fat and extremely limited fashion choices. In the background, members of the creepy purity posse — women who have never taken the drug — plot to put their unsullied uteruses to work repopulating the planet.Shot mainly in stark black and white using specially made film stock, this oppressive, inarticulate dystopia unfolds mostly in a remote desert compound belonging to Jaxxon Pierce (Stephen Dorff). Continuing the work of his dead father (Scott Bakula, seen in gritty video diaries), who invented the drug, Jaxxon tinkers with the formula, unaware that two alien brothers (Moises Arias and Jason Genao) have descended from the stars to teach him a lesson by getting him high on his own supply.This all plays as completely bonkers, albeit presented with punishing solemnity. A style experiment assembled mainly using storyboards in place of a script, the movie combines live action and stop-motion animation, old-school prosthetics and retro accessories. The occasionally arresting visuals, though, are repeatedly undercut by dumb dialogue and often atrocious acting, the whole experienced through a wall of throbbing, squawking sound. This is not the movie to see if you are nursing a hangover.Exploring some of the same ground he covered in his previous feature, “Perfect” (2019), Alcazar has made what feels like a very grouchy film, one that rails against our craving for youth and beauty and chides those who choose pleasure over procreation. There is something undeniably sad, though, in both its naïveté and its reliance on repurposed tropes, like the winking television ads that recall Paul Verhoeven’s “Starship Troopers” (1997). And I have to ask: If everyone here is supposedly focused exclusively on pleasure, why can’t we feel some? Instead, “Divinity” is deeply depressing, the announcement “Steven Soderbergh Presents” above the title (he’s the executive producer) perhaps not the antidote to the funk that its maker might have hoped.A more daring movie might have explored the notion that limited reproduction could offer some benefit to our struggling planet. But “Divinity” (at least for those who are inclined to hang around long enough to learn the drug’s ingredients) appears to favor a more retrograde anti-science message. You won’t have to squint too hard, though, to spot the irony in a narrative that cheerleads for fertility, yet is itself too barren to entertain.DivinityNot rated. Running time: 1 hour 28 minutes. In theaters. More

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      Jamie Foxx in a Lively Courtroom Drama

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      Jamie Foxx and Tommy Lee Jones deliver bravura performances in this Maggie Betts film about a funeral-home proprietor in financial trouble.In the opening scenes of this fact-based courtroom drama, which is front-loaded with a sentimentality it ultimately doesn’t need, “The Burial” might elicit some skepticism from viewers. That is, it may be a bit of a stretch to root for a Mississippi funeral-home proprietor with eight locations who’s unable to square some poor business decisions.That funeral-home squire is Jeremiah O’Keefe, played by Tommy Lee Jones, and we meet him at his 75th birthday party in 1995. He had tried to sell a few of his facilities to the slick C.E.O. of a death-care mega-corporation, but when the corporation withholds paperwork, O’Keefe could potentially be squeezed into bankruptcy.This situation gets a lot more interesting. A young Black lawyer working with O’Keefe enlists another Black lawyer, the very rich and flashy Willie Gary, played by Jamie Foxx, to work on the case. The logic is that the O’Keefe’s lawsuit will play to a mostly Black jury. The American way of death, apparently, did not gain more integrity as it became corporatized, and the exploitations of Big Funeral, it turns out, have an ugly racist angle.Directed by Maggie Betts from a script she wrote with Doug Wright, “The Burial” develops into a lively courtroom drama with wide-ranging pertinence. Of course its two lead actors give the bravura performances you’d expect from them, but they don’t eat the scenery — they take the material seriously and invest in it with welcome nuance. The supporting cast is also first rate, with Jurnee Smollett percolating with intelligence as Gary’s female counterpart for the defense, and Bill Camp as the villain, doing an underhanded, clever variant on Jack Nicholson’s performance in “A Few Good Men.”The BurialRated R for language. Running time: 2 hours 6 minutes. Watch on Amazon Prime Video. More