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      The Bizarro Worlds of Quentin Dupieux’s Comedy

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      The French director, whose latest film is “Smoking Causes Coughing,” spoke about five comedy clips that have inspired his work.Quentin Dupieux’s offbeat comedies put people into bonkers situations and watch them do their best. And their best — God bless us — is often pretty hopeless. In “Mandibles,” a couple of guys find a dog-size fly and try to hide it in their car trunk. In “Deerskin,” a man (the Oscar winner Jean Dujardin) gets fixated on soft leather jackets and goes to murderous lengths to acquire one.The genius of these what-on-earth scenarios is that the actors play it all straight. That makes for laughs, but there’s also a general circuit-frying glee at Dupieux’s unpredictable left turns. (Also fun: He casts French stars like Adèle Exarchopoulos and Benoît Magimel, happily going rogue.)The director’s latest, “Smoking Causes Coughing” (in theaters), has a plot best described as “superheroes on vacation.” This Power Rangers-style squad usually battles (very lo-fi) monsters, but they’re taking some time to regroup. (Their name? The Tobacco Force.)On a recent video call, Dupieux talked about clips from five movies that inspired him — and crack him up. Below are his thoughts, condensed and edited.‘The Phantom of Liberty’ (1974)Director: Luis BuñuelIt’s just amazing that a brain can come up with this idea. It’s so smart and silly at the same time. The toilets around the table is already something, but then the final gag is that he locks himself in another room to eat! When you’re a filmmaker, this movie is the dream: You start a story, you finish it quickly, you open the door and there’s a new story. Sometimes movies tend to be too scripted, and I love that in this movie you flip the rules and just tell the story exactly how you want.When I was making my first short films, my friend gave me a VHS tape of this movie, and it was a shock because it’s exactly what I was trying to do. But I don’t like the word “surreal” [for my films]. When these guys were making these types of movies, and when Salvador Dalí was making his art, surrealism meant something strong. It was a concept. Today, I have a feeling the word has lost its magic meaning. At the same time, I have no other word! But why do we need a label?‘Top Secret!’ (1984)Directors: Jim Abrahams, David Zucker and Jerry ZuckerOh my God, I don’t need to click to watch because I’ve watched this scene so many times. This is just the ultimate gag. I saw this in a movie theater when I was a teenager — I liked the poster, the cow with the boots — and I was amazed. So many creative visual ideas, just to make you laugh. These guys were geniuses.Sometimes you have an idea like this and you realize it’s a nightmare to shoot. Like, come on — we’re not going to build a rolling train station. And they did it! When they were doing “Airplane!,” “Top Secret!” and “Police Squad!” they were at their best. Everything is played straight, like it’s a serious movie. Val Kilmer is perfect for the part because he’s not supposed to be funny. It cracks me up every time.I just finished my new movie, which is actually about Salvador Dalí. And the reverse scene [in the bookstore in “Top Secret!”] was in my mind. So we shot a few scenes reversed. Which is hilarious to shoot — it’s so much fun to do. And I know it came from “Top Secret!” because I’ve been obsessed for many years: Why would they do that? Why is it so good? Why?!‘10’ (1979)Director: Blake EdwardsI have a passion for Blake Edwards, for this era especially. He has a very specific comedic timing. Nobody ever did the same pace of humor. And that’s in this scene: the old woman trying to bring a tray. If I do it or if someone else does it, it will not be half as funny.It’s well-crafted. It’s not something they shot just like that. For me the most important thing when I focus on a scene is the way the dialogue sounds, the music of the words. That’s how I build my comedy timing. When a scene works well between actors, I don’t chop it to make it faster or whatever. I keep the human pace. When it sounds like dialogue, like it’s written, then it’s not good enough. Even if they’re saying stupid stuff, it has to sound like it’s real.‘Raising Arizona’ (1987)Director: Joel CoenI’ve been in love with this movie. This one is more for the brilliant filmmaking: the way it’s shot, the way it’s cut, the way they use the music, the way they use the crane, the Steadicam. Every technique! Hand-held cameras, wide angles. The Coen brothers at this period had crazy filmmaking. I saw this on TV when I was a kid and it killed me.For example, when Nicolas Cage exits the store and hears the cop, the camera does something. I think it’s someone running in with the camera, hand-held. And it’s amazing, the feeling you get, just by the fact that it’s shaky. I tried to do this many times without success, because it’s not my thing. I love “Fargo,” too. A masterpiece. It’s a nightmare when you look at the main character’s point of view. And for some reason, that’s enjoyable to watch!‘Monty Python and the Holy Grail’ (1975)Directors: Terry Gilliam and Terry JonesMy mind exploded. What the hell — is it possible to film this? Probably my taste for gory scenes and blood — stupid blood — comes from Monty Python. They became popular in France through the movies. I have to say [the French TV show] “Les Nuls” was the first bible for us as kids. We realized later that they were highly influenced by Monty Python, the Zucker brothers and stuff like that. But we didn’t know and it was amazing to discover this crazy new comedy. They were basically translating these English-speaking codes to a French audience. They did a five-hour parody program called “TVN 595” — crazy TV! It was freedom. You could tell they had no rules. More

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      A Beginner’s Guide to Dungeons & Dragons

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      The filmmakers behind “Dungeons & Dragons: Honor Among Thieves” help explain the characters, monsters and spells that make up their new film.“Dungeons & Dragons: Honor Among Thieves,” a comedy-fantasy movie from the directors John Francis Daley and Jonathan Goldstein, is a loose adaptation of the tabletop role-playing game created by Gary Gygax and Dave Arneson in 1974, more commonly known among fans as D&D. A social game of chance, strategy and a kind of improvisational storytelling, D&D is hugely complex and deeply immersive, demanding of its players an almost scholarly commitment to learning its history, its rules and its mythology — all of it chronicled in a series of exhaustive, encyclopedic official rule books that are the foundation of the game.With so much advanced knowledge and folklore out there, it might seem daunting to approach this “Dungeons & Dragons” film (now in theaters) as a newcomer to D&D. But the movie has in fact been made with novices in mind.“The intention was for nothing in the film to have to be explained prior to seeing it,” said Daley, who co-wrote the screenplay with Goldstein and Michael Gilio, in a recent video interview. “We knew that was of the utmost importance, so that we’re not alienating an audience that doesn’t know D&D.” Although the film contains more than enough Easter eggs and references to satisfy die-hard fans, “none of that is a requirement,” said Goldstein. “You don’t have to know how to fly an F-18 to enjoy ‘Top Gun.’”To help answer any lingering D&D questions you might still have going into “Honor Among Thieves,” Daley and Goldstein explained some of the movie’s more arcane nods and allusions.Who are the good guys and the bad guys?Broadly speaking, the film features two competing factions: the Harpers and the Red Wizards of Thay. (For much of the running time, our heroes are caught in the battle between them.) The Harpers are “a benevolent faction of essentially spies, who work in conjunction with good-aligned characters and places to help root out evil entities,” Daley said. One of their primary adversaries is Szass Tam, the leader of the Red Wizards, who rules as a dictator of the nation of Thay.Daisy Head, left, as Sofina in the film.Paramount PicturesWhat’s a class, and what classes are our heroes?One of the first steps in a game of “Dungeons & Dragons” is the choosing of a character class: It defines your identity based upon set skills and abilities, and limits what you can and can’t do in the game. Standard classes include monks, fighters, wizards and warlocks.The characters in the film were written with these classes in mind. Edgin (Chris Pine) is a bard. Holga (Michelle Rodriguez) is a barbarian. We also see sorcerers (Justice Smith’s Simon), paladins (Regé-Jean Page’s Xenk) and a rare tiefling druid (Sophia Lillis’s Doric). Goldstein said that they wanted there to be “a clear distinction between each of the classes that was immediately recognizable to people who were aware of the game,” but they didn’t want the characters actually describing their types out loud. “Nobody ever says, ‘I’m a barbarian, what do you want from me?’ or anything like that.”Who’s aligned with what?One of D&D’s most enduring contributions is the idea of alignment — a moral category determined along the axes of good versus evil and law versus chaos. (If you have ever heard of someone being described as lawful good or chaotic evil, that’s where it comes from.)It’s easy enough to determine the alignment of each of the characters in “Honor Among Thieves,” as D&D fans will no doubt be glad to do. But Daley said that the alignments were less expressly conceived for the film than “coincidentally obvious” based on the way all fictional characters tend to be written.What are all these monsters?“Honor Among Thieves” is rife with curious creatures — all of them taken from the original game. Some are considered beasts, which are animals that could exist in the real world, and others are monstrosities, which Goldstein described as more “fantastical.”There are Mimic Chests (huge carnivorous mouths disguised as treasure chests) and the fan-favorite Gelatinous Cubes (more or less what it sounds like: huge cubes of goo that trap people inside).“There are also deeper cuts, like the Intellect Devourer, a brain-shaped creature with legs that takes control of your mind and kills you,” Goldstein said.A Gelatinous Cube traps one character in the film.Paramount PicturesAnd that … owl … bear … thing?… is an Owlbear, actually. It’s a big owl-bear hybrid that the druid, Doric, transforms into a couple of times in the film. Large and powerful, it’s one of the film’s more striking creatures.“The traditional Owlbear design often is more of a grizzly bear, but we thought it would look more beautiful if it looked like a snowy owl,” Goldstein said.Where does the movie take place?“Honor Among Thieves” isn’t set in a generic fantasy land. In fact, its globe-trotting adventures are situated in clearly delineated spaces based on pre-existing “Dungeons” maps and settings. “While writing the movie, we consulted the map,” Goldstein said. “We treated it like it was a movie about a real place with a real history.”The film largely takes place within an area called the Sword Coast, of the Forgotten Realms, along the western side of the continent of Faerun. We see such cities as Neverwinter and Baldur’s Gate, glimpse the Arctic tundra of the northern Icewind Dale, and much more. The filmmakers took pains to make the geography game-accurate, being mindful of relative positions, travel times and how different areas relate. “If they go from Triboar to the Evermoors by horseback, we know that it’s a certain distance and that it would be possible,” Goldstein said.The film uses various locations from the game, like the ice prison Revel’s End.Paramount PicturesSo all of these places were already in the game?Not exactly. As the film opens, Edgin and Holga are serving a life sentence in the remote ice prison of Revel’s End, having been busted during a botched heist. Daley and Goldstein always knew they wanted to begin the movie this way — but when they reached out to the game’s manufacturer, Wizards of the Coast (now a subsidiary of Hasbro), to ask if such a prison existed in the wintry region of Icewind Dale, they were informed that none did.Fortunately, Wizards worked their magic: A new “Dungeons” book released in the fall of 2020, “Rime of the Frostmaiden,” added Revel’s End and its parole board, the Absolution Council, to the official D&D canon. “That was one of the most gratifying parts of this whole process: seeing our names in a D&D book,” Daley said. “More so even than seeing our names on the poster for the movie.”What’s all that weird writing?As in “Star Wars,” “Honor Among Thieves” contains no written English. Instead, any of the script you see throughout the film is written in Thorass, a well-known in-game “Dungeons” language with its own established alphabet. Much as Trekkies can speak Klingon, many D&D obsessives will know the text by sight — and will no doubt be taking notes on what it means. “It was all very deliberate,” Goldstein said. “Anything you see in the film has meaning and can be translated.” More

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      Adam Sandler Grows Up (Mostly)

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      At 56, the formerly juvenile funnyman has matured into a subtler, more nuanced comedy performer. It’s why the “Murder Mystery” films work so well.“I don’t know what I’m thinking. I’m so sad,” wails Howard Ratner, voice choked up, tears streaming down his cheeks, a wad of tissue stuffed inside his bloody nose. “I can’t figure out what I’m supposed to do. Everything I do is not going right.”Howard, played with frazzled, manic intensity by Adam Sandler, is at the end of his rope. At this point in the gambling drama “Uncut Gems,” the Diamond District jeweler is in leagues of debt, and his one final, desperate hope to raise cash — a gem auction — has just failed spectacularly. Roughed up by the guys he owes, he turns to his mistress, Julia (Julia Fox), for consolation.“Unzip my skirt,” she tells him consolingly. Turning around, she reveals that she’s had his name tattooed in cursive on her backside. “It says ‘Howie’!” she exclaims.“I don’t deserve it!” Howard moans. After a pause, the Jewish New Yorker thinks to add, “You can’t even get buried with me now!”Recent Sandler films, including “Murder Mystery” and its new sequel, “Murder Mystery 2,” have this same familiar intensity. They may have less serious ambitions, but they have also been greatly bolstered by the depth and nuance he has lately seemed to harness.In many ways this is much the same Sandler that we have seen onscreen since the early 1990s, as the star of often juvenile feature comedies and as a cast member on “Saturday Night Live”: an oversize man-baby in the throes of an antic tantrum. In films like “Billy Madison” and “Happy Gilmore,” Sandler specialized in a kind of galvanic caricature of Gen X arrested development, oscillating wildly between boyish puppy-dog charm and explosive, bratty anger. His shtick was the interplay of two distinct types: bashful, vaguely pathetic one moment, utterly rabid the next.But there’s a depth of feeling evident in Sandler’s “Gems” performance that wasn’t on view in those earlier roles. From his tense shoulders to the way he grinds his teeth in moments of stress, Howard embodies a world-weariness that borders on exhaustion, looking harried and bedraggled even at his most well-rested and upbeat. All of the childish vigor Sandler is known for is still there, but filtered through several decades of indelible experience. He’s no longer a man-child. He’s an old man-child — and the effect of all that time on earth shows in every gesture and every pore.Sandler opposite Julia Fox in “Uncut Gems,” which marries the actor’s childish persona with decades of experience.A24This weariness isn’t exclusive to his work in “Gems” (available to rent on major platforms). While he’s regularly met the challenge of demanding roles under the direction of auteurs — giving complex, acclaimed performances in James L. Brooks’s “Spanglish” (2004), Judd Apatow’s “Funny People” (2009) and especially Paul Thomas Anderson’s “Punch-Drunk Love” (2004) — over the past several years he’s brought subtler and more thoughtful shading to broader, lighthearted comedies. He’s drawing on his art-house gifts even in farcical contexts, and the result is some of the most rewarding work of his career.In “Murder Mystery” and the new sequel “Murder Mystery 2,” streaming on Netflix, Sandler plays Nick Spitz, a New York City police detective longing for a promotion (more to the point, a raise). In the first film, Nick and his wife, Audrey (Jennifer Aniston), are celebrating their 15th anniversary with a long-overdue trip across Europe. On the plane, Nick spots Audrey chatting with Charles (Luke Evans), a dashing, titled billionaire, and can barely contain his envy.“I know I’m not a duke,” Nick tells Audrey sheepishly, when they have a moment alone.“He’s a viscount,” Audrey corrects him.“I don’t even know what that is,” Nick replies.This exchange is typical of the couple’s banter, which ranges in the films from tender to acrimonious to protective, sometimes in the span of a single line. Sandler plays the devoted but put-upon husband with a delicate balance of compassion and aloofness, and in moments like this, a wounded candor comes through that is oddly touching. While there’s humor in Nick’s jealousy of his rich and handsome competitor, Sandler laces it with a feeling of threatened ego and husbandly pridefulness. You get a real sense that Nick loves Audrey, and an equally clear impression of how 15 years of husband-and-wife routine have calcified their partnership.“Murder Mystery 2” picks up where the first film left off, with Nick and Audrey having parlayed their crime-solving success into a career as professional gumshoes. As with the original, this sequel works because it remains grounded in the mundane rhythms of a longtime marriage. And again, Sandler channels a hangdog torpor, almost a melancholic air, in a performance that bristles with comic realism. When he has to carry the ransom to a hostage exchange, he grouses about the weight of the briefcase (then gets defensive about the size of his hands); moments after a murder, he bickers with his wife about appropriate before-bed snack portions. This is a man with more down-to-earth concerns than the mystery he is ostensibly solving. Sandler, with surly charisma, makes those concerns palpable.Even the broadest of Sandler’s recent comedies benefit from this maturation. “Hubie Halloween” (2020, on Netflix), a goofy horror parody very much in the style of vintage Happy Madison productions, stars Sandler as Hubie Dubois, a sweet-natured simpleton reminiscent of the characters he played in “Little Nicky” and “The Waterboy.” (As in those films, Sandler speaks entirely in a squeaky, abrasive voice.) The difference is that “Hubie” leans into Sandler’s latent sweetness, counterbalancing the raunchy lowbrow humor with a heartfelt — perhaps even sentimental — touch. There’s always been a deep-seated earnestness in his work: Consider the Frank Capra-esque ending of his mawkish (and underappreciated) farce “Click” (2006). Lately, alongside the weariness, that warmth has come to the fore.Sandler, opposite Juancho Hernangómez, gives a sad, moving performance in “Hustle.”Scott Yamano/NetflixThe subtler, more mature Sandler of recent years is most fully showcased in “Hustle,” the sports comedy-drama by Jeremiah Zagar that was released to glowing reviews on Netflix last summer. Sandler stars as Stanley Sugerman, an international scout for the Philadelphia 76ers. Well-respected in his field, Stanley longs for a position on the bench: In his mid-50s and with a wife and teenage daughter he rarely sees, he badly wants to spend less time on the road and more time at home.Sandler plays Stanley as a man who is grateful for what he has but desperate for a little bit more. A hot basketball prospect in college with a shot at a championship, he squandered his one opportunity to make it as a player in the N.B.A.: After a night of partying, Stanley got into a drunk-driving accident that sent him to jail for six months and instantly derailed his career. Now he carries the guilt of that choice in his every movement.As Sandler capably plays him, he’s haunted — doomed to work in a kind of karmic penance, incapable of forgetting what might have been. It’s a sad and moving performance of remarkable emotional depth. It’s also the kind of performance that hints at where Sandler might go from here. As he continues to grow older, we might see him further hone this melancholy, perhaps eventually taking on roles like the one an aging Jerry Lewis played in Martin Scorsese’s great “The King of Comedy.”At one point in “Hustle,” asked about the dreams he still hopes to follow, Stanley offers a rebuke meant only semi-ironically. “Guys in their 50s don’t have dreams,” he insists. “They have nightmares and eczema.” Clearly Sandler — whether he personally agrees with the sentiment or not — has been channeling that feeling into his work. Onscreen now, at 56, he’s the guy who’s no longer dreaming: He’s only got nightmares and eczema, and whatever jokes he can muster to make about them. More

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      Why Tetris Consumed Your Brain

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      Rotating a colorful shape before slotting it into the perfect position is such a satisfying experience that Tetris has joined chess in the pantheon of universally recognizable games.Less familiar is the true story of how a prototype created in 1984 by a software engineer for the Soviet Union’s Academy of Sciences ended up reaching millions of players across the world. The movie “Tetris,” which stars Taron Egerton and was released on Apple TV+ on Friday, explores those humble beginnings.The addictively simple puzzle game features seven uniquely shaped pieces, each composed of four square blocks. Players move, rotate and position the pieces to form solid lines, which are then cleared away, allowing for potentially endless play. The game’s name — derived from the words “tetra” (Greek for “four”) and “tennis” (the sport enjoyed by the game’s creator, Alexey Pajitnov) — has even pervaded culture as a verb, like when you “Tetris” your luggage into the overhead bin on a plane.In an interview with The New York Times, Pajitnov described Tetris as “the game which appeals to everyone” and said he hoped that its future included e-sports and the integration of artificial intelligence. He is also working on making “a very good” two-player version of the game but said “we are not there yet.”Before Tetris was able to cement itself as a household name with releases on consoles like the Nintendo Game Boy, Henk Rogers, the character played by Egerton, had to journey to the Soviet Union and fend off competitors to secure the game’s rights. As the film shows, that was an arduous task that paid off immensely.Here are more details about the game’s creation and why it has resonated with so many for so long:The Nintendo Game BoyIn the nearly four decades since Pajitnov created Tetris using the Pascal programming language on the Electronika 60, a Soviet-made computer, more than 215 officially recognized versions of Tetris have been released.Perhaps the most notable variant is the one that was packaged with each copy of the Nintendo Game Boy when the hand-held gaming console was released in 1989. But that incredibly successful pairing — the Game Boy and the Game Boy Color have combined for about 120 million unit sales — almost didn’t happen.The president of Nintendo of America, Minoru Arakawa, initially wanted to bundle Super Mario Land with the Game Boy, following the company’s success packaging Super Mario Bros. with the Nintendo Entertainment System. Rogers, however, was able to convince Arakawa that Tetris should be included instead, in part because it would appeal to a broader group of demographics.Pajitnov described the partnership as “two creatures created for each other: Game Boy for Tetris and Tetris for the Game Boy.”“Tetris” shows an early example of the video game featuring seven unique shapes.AppleThe Tetris EffectAs anybody who has spent hours playing Tetris knows, it is an incredibly addictive game. Many people who play for extended periods of time have reported seeing Tetris pieces outside of the game, such as in their mind when they close their eyes, or in their dreams. It’s a phenomenon known as the Tetris Effect.You may have experienced the Tetris Effect yourself if you’ve ever seen tetrominoes, officially known as Tetriminos, when you’re trying to bag your groceries.In professional studies, the psychologist Richard Haier found that regularly playing Tetris resulted in an increased thickness of the cerebral cortex. Haier’s studies also demonstrated how Tetris can affect the plasticity of cortical gray matter, potentially enhancing a person’s memory capacity and promoting motor and cognitive development.A study in 2017 by researchers at Oxford University and the Karolinska Institutet showed that Tetris had the potential to provide relief for people with post-traumatic stress disorder, if they played the game after an incident while recalling a stressful memory.The Quest for PerfectionDecades after it was invented, Tetris continues to have staying power. Newer versions of the game include Tetris Effect, which builds a Zen experience via music, and Tetris 99, in which players try to outlast opponents who are meddling with their boards.In competitive play, new methods of moving the pieces are still being discovered. The standard way to play the Nintendo Entertainment System version of Tetris — yes, the game first released in 1989 is still used at the Classic Tetris World Championships — is by holding the gray rectangular controller so that the left hand controls the movement of the pieces, and the right hand manages the rotation. But that method, known as “delayed auto shift” in the competitive community, has been usurped in recent years by “hypertapping” and “rolling.”Hypertapping involves rapidly pressing the buttons, countering the traditional sensation that pieces are slowly being dragged into position. Rolling lets pieces be moved even more quickly, by flicking the fingers of one hand along the back of the controller.The power of hypertapping became clear in 2018, when a 16-year-old named Joseph Saelee used the method to defeat Jonas Neubauer, a seven-time world champion. But in the years since, the rolling method has dominated the competitive scene. Not only is it incredibly effective, but it seems to be less strenuous on fingers and hands. More

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      A Movie Confronts Germany’s Other Genocide

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      “Measures of Men” tells the story of the systematic massacre of Herero and Nama people in what is now Namibia. Its maker hopes the film will bring a debate about Germany’s colonial guilt into the center of society.Germany is often praised for its willingness to confront the darkest moments of its history, but in recent years, activists have pointed to a blank spot in the country’s culture of remembrance. Decades before the Holocaust, Germany perpetrated the 20th century’s first genocide: From 1904 to 1908, German colonial officials systematically killed tens of thousands of Herero and Nama people in what is now Namibia. This atrocity is little known outside academic circles, and there are few memorials or pop cultural depictions of those events.Now, a new movie, “Measures of Men,” aims to change that and bring a debate about Germany’s colonial guilt into the center of society. The glossy film, directed by the German filmmaker Lars Kraume, tells the story of the killings through the eyes of a German anthropologist. Aside from playing in movie theaters, where it opened last week, “Measures of Men” had a special screening for lawmakers in Germany’s Parliament, and was the focal point for a series of events at the Humboldt Forum, a central Berlin museum housing ethnological items. Its distributor, Studiocanal, said in a statement that it was planning to show the film in school and educational contexts.“Measures of Men” has also prompted a new discussion in the German media about what many see as Germany’s sluggish attempts to come to terms with its colonial past. In recent years, the country has moved to return numerous artworks acquired during the colonial period, but the process of ratifying a reconciliation agreement between Namibia and Germany has stalled, and thousands of African human remains, transported to Germany from its colonies, remain in institutional collections.In an interview in Berlin, Kraume, 50, explained that his movie was partly inspired by the 1978 NBC mini-series “Holocaust,” an early fictionalized TV depiction of the Shoah, which played a key role in spreading awareness of German guilt after it was broadcast here. “You have the possibility through cinematic storytelling to reach an audience that doesn’t engage so much with history books,” he said, adding that he hoped his film would be the first of many, much in the way “Holocaust” paved the way for films like “Schindler’s List.”Lars Kraume, who directed “Measures of Men,” said, “You have the possibility through cinematic storytelling to reach an audience that doesn’t engage so much with history books.”Gordon Welters for The New York Times“Measures of Men,” which was filmed in Berlin and Namibia, focuses on an ambitious German ethnologist (Leonard Scheicher) who develops a fascination with a Herero woman (Girley Jazama) after measuring her cranial features as part of his research. His fixation leads him to travel to German South West Africa (now Namibia), where he witnesses and eventually become complicit in the colonial slaughter.“It’s not just a film about the genocide,” Kraume said, “but also about ethnologists who want to explore foreign cultures, but destroy them.”Many of the scenes were based on real events of the genocide, which took place during a conflict between Germans and Africans known as the Herero and Nama War. After thousands of Herero men, women and children fled into the Omaheke Desert in 1904 to escape the fighting, German troops sealed off its edges and occupied the territory’s water holes, leading many to die of thirst. Lothar von Trotha, the governor of the colony, then issued a proclamation calling for all remaining Herero to be killed.After the Nama joined the fight against the German colonizers, they were also targeted, and colonial officials set up concentration camps, ostensibly to provide labor for German-owned businesses, in which hundreds of prisoners died. The film depicts real facilities in one such camp in which the decapitated heads of Herero and Nama were boiled and cleaned for export to German ethnological institutions. Thousands of skulls of unclear origin remain in German collections to this day.Kraume long wrestled with how to tell the story as a European filmmaker, and said he had decided to depict it from a German perspective for fear that centering it on African protagonists would represent a form of “cultural appropriation.” At one point in the development, he hoped to structure it similarly to Hollywood films about the Vietnam War, such as “Platoon” and “Apocalypse Now,” that center their plots on conflicts between “good” and “bad” American soldiers. “But there were actually no good Germans,” Kraume said.Girley Jazama, who plays the movie’s female lead, discovered that her great-grandmother has been born in a German-run concentration camp while researching to play the role.Gordon Welters for The New York TimesJazama, an acclaimed Namibian actress who plays Kezia Kambazembi, the film’s lead female role, learned German to play her part. In preparation for the role, she spoke to relatives about her family’s connection to the genocide and discovered that her great-grandmother had been conceived in a German-run concentration camp. “My ancestors need to be at peace,” she said in an interview. “That’s why I became a part of this story.”Jazama said that, though the film had largely been made to spur discussion in Germany, it had also been a talking point in Namibia, where the events of the genocide had often been passed down via family members. “A lot of people are grateful,” she said, recalling that one audience member had shared appreciation that “now there is a visual representation of what happened, versus just it being told orally.”The reaction in Germany has been more mixed. Writing in the Frankfurter Allgemeine Zeitung newspaper, the critic Bert Rebhandl wrote that the film focused too much on “German self-understanding” while pushing African perspectives to its edges. A writer in the Süddeutsche Zeitung argued that the film depicts too little of the genocide to transmit the scope of the killing and it does not do “justice to the horror.”Henning Melber, a political scientist who has written extensively about German colonialism, said that criticism of the film shouldn’t distract from its potential role in remedying what he described as Germany’s “colonial amnesia.” He said that the film “triggers a debate in a wider German public in a way that none of us academics can achieve.”Kraume emphasized that, although “Measures of Men” was meant to appeal to a mass audience, it was an explicitly “political film,” and that its rollout was partly engineered to spur a discussion. He hoped the screening for lawmakers would drive politicians to work harder at compensating the Herero and Nama, he added.A scene from “Measures of Men.” In 1904, thousands of Herero people fled from German soldiers into the Omaheke Desert, where many died of thirst.Willem Vrey/Studiocanal GmbHAlthough Namibian and German authorities agreed in 2021 on the terms of a reconciliation agreement, including around $1.1 billion in aid that Germany would pay over the next 30 years, the process has since come under fire from groups representing victims’ descendants, who argue that amount is too low, and say they were unfairly left out of the negotiation process. The Namibian government has since backtracked on plans to ratify the agreement, and the German authorities have resisted calls by the Namibians to reopen talks.Kraume said Germany’s president, Frank-Walter Steinmeier, should travel to Namibia and officially apologize for the genocide, and that all human remains still held in Germany should be returned. “Europe has done far too little to reconcile with victims,” he said. “I think cinema allows us to awaken emotions, and implant images that can let you see events differently,” he said. “But this is only the beginning of the discussion.” More

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      ‘Murder Mystery 2’ Review: The Case of the Innocuous Sequel

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      Adam Sandler and Jennifer Aniston return as private detectives in this Netflix follow-up comedy.For a certain brand of Adam Sandler films, you know what you’re going to get: something cheerfully lowbrow, easygoing and listlessly comforting when used as background programming. Such movies are what make the actor’s longstanding partnership with Netflix perhaps too suitable a match, as the bulk of the company’s original content has been gradually cheapened to a similar brand. With “Murder Mystery 2,” the sequel to the 2019 comedy “Murder Mystery,” it’s much of the same.The film, directed by Jeremy Garelick, reintroduces us to Nick (Sandler) and Audrey (Jennifer Aniston), the married-couple leads of the original movie, who, after solving the first film’s high-profile murder, have formed a private detective agency, which they are having trouble getting off the ground. They are soon whisked away to the destination wedding of a friend, the Maharajah (Adeel Akhtar), a familiar face from the first movie.A new murder occurs, and the Maharajah is kidnapped. Nick and Audrey are on the case, while they again find themselves wanted by authorities as prime suspects. There’s a bit more scale to this sequel, and plenty of flat gags that will have just a tad more vigor if you’re familiar with the recurring characters.As they have in past team-ups, Sandler and Aniston maintain a charming midcareer looseness, and have a palpable affability as a duo — one can sense the fun they had making such silliness, even if the result isn’t gold. You could do worse for something to turn on while making dinner.Murder Mystery 2Rated PG-13 for violence, bloody images, strong language, suggestive material and smoking. Running time: 1 hour 29 minutes. Watch on Netflix. More

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      Michael Blackwood, Who Captured 20th-Century Artists on Film, Dies at 88

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      He made cinéma vérité movies — more than 160 — about musicians (Thelonious Monk), architects (Frank Gehry), composers (Philip Glass) and sculptors (Isamu Noguchi).Michael Blackwood, a prolific documentarian who explored the work of 20th-century artists, architects, musicians, dancers and choreographers in more than 160 films and yet never became widely known, died on Feb. 24 at his home in Manhattan. He was 88.His wife, Nancy Rosen, confirmed the death, in his sleep, but said she did not know the cause.Mr. Blackwood filmed his subjects in the unobtrusive, no-frills cinéma vérité style, seeking to capture the creative process behind their art, often in studio visits. Sometimes they were their own narrators; sometimes there were no narrators at all. Mr. Blackwood was invisible to viewers.He followed the jazz pianist and composer Thelonious Monk on tour in Europe. He tagged along as the minimalist composer Philip Glass prepared for the 1984 premieres of his opera, “Akhnaten,” in Houston and Stuttgart, Germany.He observed the creative process of the Bulgarian-born conceptual artist Christo during his creation of epic environmental projects like “Running Fence” and “Wrapped Walkways.” And he let Isamu Noguchi explain his approach to his art as they walked among his sculptures.A scene from “Monk,” one of Mr. Blackwood’s two documentaries about the jazz pianist and composer Thelonious Monk.Michael Blackwood Productions“I go from one piece to the next,” Mr. Noguchi said in the 30-minute film, “Isamu Noguchi” (1972). “It’s a continuous development. It’s not something that I have intellectually arrived at as a way of doing things. I change with the work.”Mr. Blackwood took a similar approach to his own work, which he often undertook with his brother, Christian, a cameraman, director and producer. He moved from project to project on subjects that reflected his eclectic personal tastes, remaining largely under the film world radar and giving few interviews. Most of his films were carried on European television networks, but some were shown on public television stations in the United States and at art house theaters in Manhattan. They were also sold to libraries and museums.“He made the films he wanted to make and hoped people would want them,” Ms. Rosen said in a phone interview. “Any money he made from distributing his films was plowed into the next film.”Mr. Blackwood felt a particular urgency to make films about artists like Philip Guston, Larry Rivers, George Segal and Robert Motherwell.“There are no film portraits in existence of the artists of the early century, but barely a few haphazard meters of footage on such great figures as Rodin, Renoir and Kandinsky,” he told the Canadian magazine Vie Des Arts in 1981 in one of his rare interviews. “What a pity!”His fascination with architecture led him to make films about some of its stars, including Louis Kahn, Richard Meier, Ludwig Mies van der Rohe, Peter Eisenman and Frank Gehry.In his review of “Frank Gehry: The Formative Years” (1988) in The New York Times, the architecture critic Paul Goldberger wrote that Mr. Blackwood “has built up an admirable oeuvre of films about architects and architecture,” and that Mr. Blackwood has Mr. Gehry “ramble though his work in a way that is both inviting and informative.”A scene from “Isamu Noguchi” (1972), a 30-minute film about Noguchi’s approach to sculpture.Michael Blackwood ProductionsMichael Adolf Schwarzwald was born on July 15, 1934, in Breslau, Germany (now Wroclaw, Poland) and moved to Berlin when he was 2 years old. During World War II, his parents sent him for his safety to Lubeck, on Germany’s Baltic Coast, to one of a network of children’s homes run by the Lutheran Church.His father, Gerhard, who was Jewish, did forced labor jobs in Berlin during the war; his mother, Elinor (Feist) Schwarzwald, converted from Lutheranism to Judaism but subsequently rejoined the Lutheran Church to survive in Nazi Germany and protect her family. She worked at the Finnish consulate. After the war, his parents started a business that made sets and curtains for the German film industry and local theaters.The family, including his brother, emigrated to New York in 1949. Michael changed his surname to Blackwood and dropped his middle name after becoming a United States citizen in 1955.After his graduation from George Washington High School in Upper Manhattan, he found work with a special film unit of NBC. He swept the floors at first, but eventually learned to edit and direct there, which led him to make his first film, “Broadway Express” (1959), a 19-minute portrait of people riding the New York City subway, set to a jazz score.In 1961, after leaving NBC, Mr. Blackwood moved to Munich, West Germany, where he directed documentaries for public television. He returned to New York in 1965 and soon began making his own independent documentaries. In 1968, he and his brother directed two films about Monk for West German television: “Monk,” which focused on recording sessions and performances in New York and Atlanta, and “Monk in Europe,” about a European tour.Much of their footage was used in another documentary, Charlotte Zwerin’s “Thelonious Monk: Straight, No Chaser” (1989). Jon Pareles wrote in a review in The Times that “Monk’s feet were as busy as his hands, and Mr. Blackwood’s alert camera crew zeroed in on them.”“Although Monk’s recorded piano sound is percussive,” Mr. Pareles went on, “the film shows him using the sustain pedal within single notes, using extraordinary finesse.”In a 1993 film, “The Sensual Nature of Sound,” Mr. Blackwood examined four distinctive performers and composers — Laurie Anderson, Tania León, Meredith Monk and Pauline Oliveros — devoting significant time to their discussions of their own work.“The thread that ties together so much of Blackwood’s work,” Sasha Frere-Jones wrote last year on the website for Pioneer Works, a Brooklyn culture center that was streaming some of Mr. Blackwood’s films, “is a sense of patience and respect, so that even when the documentary form includes narration, it usually comes from the painters and musicians themselves.”Mr. Blackwood also made films about subjects who were not artists, like the Nobel Prize-winning physicist Hans Bethe and the diplomat George F. Kennan, and several about Germany and German Americans.In addition to his wife, he is survived by their son, Benjamin; his daughter, Katherine Blackwood and a son, Daniel, from his marriage to Ela Hockaday Kyle, which ended in divorce; and six grandchildren. His brother died in 1992.Mr. Blackwood’s last three films were all completed in 2014: one about the expansion of the Clark Art Institute in Williamstown, Mass.; another about the painter Carroll Dunham; and the third a portrait of Greg Lynn, a leader in computer-aided architectural design.One film remains — one that Benjamin Blackwood said he may complete — about the Pop artist Roy Lichtenstein’s “Greene Street Mural,” an installation created in 1983 at the Leo Castelli Gallery in Manhattan. It measured 18 feet tall and 96½ feet wide and was destroyed, at Mr. Lichtenstein’s direction, after six weeks.“His priority wasn’t making an art piece,” Benjamin Blackwood said by phone, referring to his father’s cinematic ambitions, “but to make a film about the art his camera was capturing.” More

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      Stream These 9 Titles Before They Leave Netflix in April

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      A bunch of great TV shows and movies are departing for U.S. subscribers this month. Catch them while you can.This month’s assortment of titles leaving Netflix in the United States includes three hysterically funny series, two of must-see documentaries, two comic-book adaptations that buck expectations and one of the scariest movies the streamer has to offer. See them before they leave. (Dates reflect the last day a title is available.)‘Hush’ (April 7)The director Mike Flanagan has become the horror king of Netflix, with credits including “Gerald’s Game” “The Haunting of Hill House” and “Midnight Mass.” But before any of those high-profile projects, he co-wrote (with his star and spouse, Kate Siegel) this lean, mean, efficient little single-location slasher thriller. Siegel plays Maddie, a deaf and mute novelist who works and lives in an isolated country home and must fight for her life when she is targeted by a brutal killer (John Gallagher Jr.). The result is tense, frightening and wildly effective.Stream it here.‘New Girl’: Seasons 1-7 (April 9)On first sight, this Fox sitcom seemed tailored entirely (and narrowly) to spotlight the specific pixie-like charms of its star, Zooey Deschanel. But within a few episodes, “New Girl” became much more:a fast-paced, frequently quotable showcase for an ace comic ensemble. Deschanel remained at the center, but the uproarious characterizations and onscreen teamwork of Max Greenfield’s high-maintenance Schmidt, Lamorne Morris’s oddball Winston, Hannah Simone’s complicated Cece and (especially) Jake Johnson’s rough-edged-but-soft-centered Nick turned this into one of the freshest and funniest network comedies of the 2010s.Stream it here.‘We Steal Secrets: The Story of WikiLeaks’ (April 23)The prolific documentary filmmaker Alex Gibney waded into one of the most complicated stories of his career when he took on the rise of Julian Assange’s organization — and the fall of Assange himself. It’s a story toward which neutrality is all but impossible — for a filmmaker or a viewer — but Gibney is admirably evenhanded, praising WikiLeaks’ high-minded mission and notable scoops while also asking pressing questions about its founder, his motives and his misdeeds. And the filmmaking unfolds with the tension and propulsion of a tightly-wound political thriller, which, in many ways, is exactly what it is.Stream it here.‘Bill Nye: Science Guy’ (April 24)As the (comparatively) science-friendly Obama administration gave way to the climate denialism of Donald Trump, the 1990s-era children’s television personality Bill Nye reconsidered his mission and his audience, repositioning himself as an advocate and educator for older generations. The directors David Alvarado and Jason Sussberg document that tricky career shift as Nye changes from an innocuous fellow with a perpetual smile and bow tie into a surprisingly polarizing political lightning rod. The results are as enlightening, thought-provoking and frequently amusing as the man himself.Stream it here.‘The IT Crowd’: Series 1-5 (April 25)Several international comedy stars-to-be — including Chris O’Dowd (“Bridesmaids”), Matt Berry (“What We Do in the Shadows”) and Richard Ayoade (“Travel Man”) — made their first big splash in this unfailingly clever British office sitcom. O’Dowd and Ayoade star as Roy and Moss, socially inept, know-it-all IT technicians. Katherine Parkinson is Jen Barber, their manager, who is tech illiterate (much to their chagrin) but personally adept (much to their amazement). It sports a tone and style not unlike the original British version of “The Office,” and it accomplishes a similar duality: though unmistakably local in its details, it taps into universal truths about work, class and life.Stream it here.‘Ash vs. Evil Dead’: Seasons 1-3 (April 28)The new “Evil Dead” sequel, “Evil Dead Rise,” hits theaters on April 21, though it continues in the grim, humorless vein of the series’s 2013 installment. Those who prefer the zany, slapstick-heavy, gore-and-grins iteration of the franchise, tweaked to perfection by the director Sam Raimi and the star Bruce Campbell in “Evil Dead II” (1987) and “Army of Darkness” (1993), can direct their attention to this Starz Original series, codeveloped by Raimi, with Campbell reprising his role as the wisecracking, chain saw toting, Book-of-the-Dead-battling hero Ash Williams. The results are somewhat uneven (the early episodes, with which Raimi was most directly involved, are the highlights), but fans of the films will love it anyway.Stream it here.‘Leap Year’ (April 30)This light-as-a-soufflé romantic comedy was not exactly received with enthusiasm upon its release in 2010, but time has been kind to it for several reasons, among them the general dearth of theatrical rom-coms and the slow-burn charms of the screenwriters Deborah Kaplan and Harry Elfont (whose “Josie and the Pussycats” has undergone a spectacular popular and critical reappraisal). Perhaps most important, it’s an opportunity to see Amy Adams at her light and breezy best, in sharp contrast to her more recent spate of Serious Actor Oscar bids.Stream it here.‘Road to Perdition’ (April 30)This 2002 adaptation of the graphic novel by Max Allan Collins (itself inspired by the “Lone Wolf and Cub” manga and film series) was only the second feature film from the director Sam Mendes. Yet it plays like an elegy, a film about endings, mortality and what we leave behind. It was the final film of the award-winning cinematographer Conrad L. Hall, whose visions of Depression-era America here are staggeringly evocative, and one of the final onscreen appearances for Paul Newman. The actor nabbed one last Academy Award nomination for his work as the patriarch of a crime family, caught between his irresponsible biological son (a pre-Bond Daniel Craig) and his beloved surrogate son (Tom Hanks, in a rare and affecting non-hero turn).Stream it here.‘Scott Pilgrim vs. the World’ (April 30)Edgar Wright’s 2010 action-comedy, initially a box-office disappointment, has become a cult favorite in the intervening years, and for good reason: Its fizzy look and feel, energetic direction and spirited performances make it one of the most purely entertaining comic book adaptations of recent years, and Wright’s light touch keeps it from bogging down into the endless back stories and crossovers that have tended to burden such pictures. Michael Cera is a delight in the title role, and the stacked supporting cast includes such MVPs as Kieran Culkin, Chris Evans, Anna Kendrick, Brie Larson, Aubrey Plaza, Mary Elizabeth Winstead as his dream girl and Jason Schwartzman, cast against type as a supervillain.Stream it here. More