Movies

In Mounia Akl’s ambitious debut feature, a family’s attempts to escape the filth of Beirut go awry when the garbage follows them to their doorstep.As civic emergencies go, few possess the symbolic clarity of a garbage crisis. They’re ugly. They stink. They signify dysfunction, rot and toxicity in ways that need no sorting.They are also an effective shortcut to dramatic poignancy, as the Lebanese director Mounia Akl demonstrates in her ambitious first feature, “Costa Brava, Lebanon.” But if it sounds like a facile metaphor, blame history: Beirut has been choking on garbage for years — including, but hardly limited to, the kind you put in bags.Situated in a dystopian near future indistinguishable from the present, the film’s setting is less a space for imagination than for cynicism: The more things change, the more they stay the same. The trash is still a problem. The leaders are still corrupt.Perhaps things could be different in the countryside, where one family struggles to maintain an off-grid Eden. Years before, Souraya (Nadine Labaki), a famous singer, escaped there to build a family with her husband, Walid (Saleh Bakri), a disillusioned and damaged former activist. But after a government land seizure brings the garbage literally to their door, the fragility of their little ecosystem becomes apparent.Souraya wonders whether Beirut was really so bad. Their teenage daughter (Nadia Charbel) dreams of boys and a bigger world. Their other daughter (Ceana and Geana Restom) is too young to give up on her daddy, but she has also absorbed his trauma, harassed by the obsessive-compulsive delusion that by counting she can control the surrounding chaos.The paradise these characters seek might as well be the Spanish coast of the title, elusive as it is. If a fuller sense of their humanity is sometimes lost to the ideas they serve, Akl has nonetheless produced a smart and sensitive film.Costa Brava, LebanonNot rated. In Arabic, with subtitles. Running time: 1 hour 46 minutes. In theaters. More

This inspirational comedy starring Leslie Manville and Isabelle Huppert trades in a similar kind of British coziness as the “Paddington” movies, though it’s not nearly as effective.In “Mrs. Harris Goes to Paris,” Lesley Manville returns to the world of high fashion in a reversal of her Oscar-nominated role in “Phantom Thread.” Her deliciously frigid character in that film — the forbidding manager of a British fashion house and foe to Vicky Krieps’s lowborn muse — would go catatonic were Manville’s Mrs. Ada Harris to waltz into the fitting room, asking for a “frock” with her cockney drawl.Unsurprisingly, the formidable Manville pulls off the switcheroo, instilling her role as the genial cleaning lady with a tenderness and grace that far surpasses the feel-good pish-posh that is the film around her.Directed by Anthony Fabian, “Mrs. Harris Goes to Paris” trades in a similar kind of British coziness as the “Paddington” movies, though it’s not as zany or funny.Mrs. Harris, a widow toiling away in the service of the postwar London elite, has her eyes set on a custom Dior gown and, after a series of fortunate events, heads to Paris to retrieve the garment of her dreams. Despite having found the cash, our heroine must contend with the menacing Madame Colbert (Isabelle Huppert) and the snooty mores of the biz and its patrons.For the other world-weary employees — the kindly, philosophizing model Natasha (Alba Baptista), the lovesick accountant André (Lucas Bravo) — Mrs. Harris proves single-handedly that the rules of society aren’t necessarily ironclad. If a humble maid can get her hands on a dress that costs 600 pounds, what’s stopping Natasha from pursuing an intellectual life, or André from revolutionizing the company to appeal to women from all walks of life?The trope of the laughably frumpy worker bee, filled with optimism and quiet wisdom, is demeaning, and Mrs. Harris’s iteration is no exception. Despite its gleeful showcasing of beautiful clothes and vibrant midcentury Parisian sights, the film is caught between its fantasies and its principles, landing somewhere more annoyingly clueless — and dull — than it ought to be.Mrs. Harris Goes to ParisRated PG. Running time: 1 hour 55 minutes. In theaters. More

A traumatized star is supernaturally primed for vengeance in this gorgeously ghostly thriller.The first name we see onscreen in “She Will” belongs not to its director (Charlotte Colbert) or its star (Alice Krige), but to one of its executive producers, the horror maestro Dario Argento. And it doesn’t take long to recognize the ways in which the plot of this confident first feature (written by Colbert and Kitty Percy) might have appealed to Argento: The emphasis on dreams, the sly humor and — perhaps most of all — the despoilment of female beauty.What’s notable here is Colbert’s restraint, so much so that I hesitate to describe “She Will,” which is virtually bloodless, as a horror movie. Certainly, horrible things have happened to Veronica Ghent (Krige), an aging star recovering from a double mastectomy, but they’re seen mostly through the veils of memory and suggestion. And when she arrives at a remote healing retreat in Scotland with her warmhearted nurse, Desi (an excellent Kota Eberhardt), Veronica appears less a damaged celebrity than an imperious misanthrope with a dry, dark wit.“Scout camp, with a touch of Guantánamo,” she declares their destination, appalled by the unexpected presence of a gaggle of pyramid-worshiping spiritualists. Retreating to a cottage deep in the woods and the comfort of her pain medication, Veronica hopes to find rest and solitude; instead, her dreams are filled with bonfires and shackled women and a ghastly, imploring, helmeted figure. The retreat might be located on the site of 18th-century witch burnings, but it’s a far more recent injury that begins to invade Veronica’s sleep, one involving her 13-year-old self and Eric Hathbourne (Malcolm McDowell), the director of her first film.Blending sensuous imagery with jabs of feminist wit — at one point, a vibrator is weaponized against a male intruder — Colbert sends her heroine on a transformative journey of revenge and renewal. As Veronica absorbs the forest’s damp foliage and sucking peat, her pain eases and she discards her prosthetics. Old wounds, both physical and psychological, are being dug up and aired out, the confrontation of the past becoming a means to accepting her ruined beauty. Makeup, she tells us, has always offered a ritual of preservation; now her slash of carmine lipstick is an act of defiance.Assembled for atmosphere rather than shocks, “She Will” artfully devises paranormal consequences for male violence. Jamie D. Ramsay’s cinematography casts a sullen thundercloud over exterior and interior shots alike, a child’s party balloons in one early scene appearing filled not with helium but with foreboding. When you’re about to embark on a witch hunt, that’s exactly the ambience you want.She WillNot rated. Running time: 1 hour 35 minutes. In theaters and available to rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

Michael Cera and Samuel L. Jackson lend their voices to this unlikely animated adaptation of Mel Brooks’s “Blazing Saddles.”Michael Cera stars as an anthropomorphic dog, who is in training to be a samurai, and Samuel L. Jackson plays his washed-up feline mentor in Paramount’s latest animated family flick, “Paws of Fury: The Legend of Hank.” The film sounds like standard CGI family fare, until you learn that the movie, originally titled “Blazing Samurai,” is a PG adaptation of Mel Brooks’s 1974 satire of Western films and race relations, “Blazing Saddles.”Sure enough, the basic story elements of “Blazing Saddles” are all here — only now, rather than an evil railroad baron employing an unwitting Black prisoner to be the sheriff of a racist town, a conniving cat (Ricky Gervais) convinces Hank, a lost beagle, to become the samurai for a village with a prejudice against canines. (Brooks even reprises his “Blazing Saddles” role as the Governor, now reimagined as a geriatric shogun.) Many of the same slapstick jokes and gags from Brooks’s film are referenced, too, though they have been retooled to remove any outdated references or obscenity. Some quips, however, still slip under the radar: At one point, Jackson’s character, the retired samurai Jimbo, refers to a group of village invaders as “N.W.A. — Ninjas With Attitude.”Despite its risqué origins, “Paws of Fury” manages to dish out lighthearted fun, swashbuckling action and surface-level messaging about following your dreams, though not every joke lands. The anachronistic sight gags in “Blazing Saddles” don’t work as well in the hyperreal world of a children’s cartoon, where the sight of a dog and a cat in kimonos attending a bottle-service nightclub circa 2009 isn’t as absurd as it would be in live action. Still, if watching those same characters sword-fight around the bowl of an enormous jade toilet sounds like fun to you or your children, this may be the movie of the summer for you.Paws of Fury: The Legend of HankRated PG. Running time: 1 hour 37 minutes. In theaters. More

In this South Korean film, a teenage girl kidnapped by human traffickers brings an assassin out of retirement to save her.It was only days ago that the retired assassin Ui-gang (Jang Hyuk) was enjoying a happy life with his wife (Bang Eun-jung). Now, after the kidnapping of a girl in the director Choi Jae-hoon’s muscular action flick “The Killer,” Ui-gang is facing down a barrage of goons in a narrow hallway to rescue her. He doesn’t flinch when an ax whizzes past his ear. Instead, with unblinking precision, he tears through two would-be killers while a shocked group of tough guys watch in fear from an elevator.Choi spends the first half of the film building back to this moment: Ui-Gang’s wife wants to take a trip with her friend, who has a teenage daughter, Yoon-ji (Lee Seo-young). An unamused Ui-gang is charged with babysitting the girl while the pair go on vacation. Soon after they leave, the 17-year-old is kidnapped by a sex-trafficking ring with Russian ties. Whoever is pulling the strings specifically wants Yoon-ji and Ui-gang needs to kill that person to save the girl.While the tightly choreographed action scenes in “The Killer” take their cue from “John Wick” and “The Man From Nowhere,” the film lacks heart.Adapted from the novel “The Girl Who Deserves to Die” by Bang Jin-ho, the screenwriter Nam Ji-woong’s undercooked script leaves the interpersonal dynamics between Ui-gang and his wife underwritten. While the nimble Jang holds together the robust action sequences — bloody freakouts often captured in slow motion — no one else grounds any of the scenes with any emotion. Consequently, “The Killer” fails to land a real knockout blow.The KillerNot rated. In Korean, with subtitles. Running time: 1 hour 35 minutes. In theaters. More

In this intermittently powerful if somewhat stiff-jointed Holocaust drama, a Jewish girl poses as a gentile and works as a nanny for a Ukrainian farmer and his wife.In the Holocaust drama “My Name Is Sara,” a Jewish girl hides out with a Ukrainian farming family and works as a nanny in exchange for food and shelter. Posing as a gentile, Sara (Zuzanna Surowy), tells the farmer, Pavlo (Eryk Lubos), and his wife, Nadya (Michalina Olszanska), that her name is Manya and that she has run away from a troubled home life.Pavlo and especially Nadya appear to harbor suspicions about her story and lack of papers. Nadya repeatedly tests Sara. She asks her to cross herself, feeds her pork and summons her to help the boys with Christian prayers — something that Sara, for reasons revealed later on, does with relative ease. But even if the household mildly warms to Sara, the danger of discovery does not abate for nearly two years.The film is sharp at illustrating how Sara is never totally safe, and how survival requires improvising again and again. Anti-Semitism is all around her even apart from the occupying Nazis. When she discovers that Nadya is having an affair, the balance of leverage and loyalties grows even more complicated.Directed by Steven Oritt and written by David Himmelstein, the movie dramatizes some of the real wartime experiences of Sara Shapiro, born Sara Goralnik, who died in 2018. While the suspense and power of her story come through, the film can be clunkily expository and, with regard to tensions between Sara and Pavlo, frustratingly vague. Furthermore, having the Ukrainians mostly speak English with one another — despite the presence of Polish, Russian and German elsewhere in the movie — distracts from the verisimilitude.My Name Is SaraNot rated. In English, Polish, German and Russian, with subtitles. Running time: 1 hour 51 minutes. In theaters. More

The splashy show, an example par excellence of what makes modern French musicals distinctive, begins a run at Lincoln Center.When Americans are asked to name French musicals, their go-to is “Les Misérables,” which opened in Paris in 1980 before an extensively retooled English version went on to conquer the world a few years later.That, or some of the films that Jacques Demy directed in the 1960s, like “The Umbrellas of Cherbourg” and “The Young Girls of Rochefort.”Usually not mentioned on our shores are the wildly popular homegrown stage musicals that appeared in France in the late 1990s. But now the most famous of them, “Notre Dame de Paris,” is having its New York premiere at the David H. Koch Theater at Lincoln Center on Wednesday, and will run there through July 24.One of its creators has issues with the terminology used to describe his work, though.“I don’t think of ‘Notre Dame de Paris’ as musical theater,” the composer Richard Cocciante said by video from Rome, where he was preparing for a concert tour in Italy. “For me it’s a people’s opera. That’s because it’s entirely sung-through. We don’t call the numbers arias, though: ‘Belle’ or ‘Le temps des cathédrales’ stand alone as songs,” he added, mentioning two of the show’s many sweeping ballads and its biggest hits.The show, a spectacle with a cast of 30, made its debut in Paris in 1998.Alessandro DobiciBased, like “Les Misérables,” on an epic 19th-century novel by Victor Hugo (which also inspired the Disney animated film “The Hunchback of Notre Dame,” to name just one of many adaptations), “Notre Dame de Paris” successfully exploited a distinctively French approach to modern stage musicals.The lyricist Luc Plamondon already had a successful career writing for artists both in his native Quebec (a certain belter released an album of his songs, “Dion chante Plamondon,” in 1992) and in France, where he wrote the lyrics for the musical “Starmania” in the late 1970s. (That perennial favorite is returning to the Paris stage in November.)Looking for another long-form project two decades later, Plamondon thought that “Notre Dame de Paris” would be a fitting source and called up Cocciante, who happened to have a tape of odds-and-ends melodies laying around.“The first song began with him singing ‘Time … da-da-da,’” Plamondon, 80, hummed on the phone. He had been thinking of the scene in the 1956 film adaptation in which Anthony Quinn, as the hunchback, Quasimodo, begs Gina Lollobrigida’s Esmeralda, the object of all the men’s attentions, for water. “He’s chained to the wheel and he goes ‘Belle … belle …’” Plamondon continued, quoting the French word for beautiful. “That gave me the idea to replace ‘time’ with ‘belle’ in the song.”And they were off. “From then on it gushed out of both us,” Cocciante, 76, said. “We wrote ‘Notre Dame de Paris’ in a kind of trance.”Hélène Ségara as Esmeralda in the original 1998 production of “Notre Dame de Paris.”Stephane Cardinale/Sygma, via Getty ImagesIn the French answer to a backers’ audition, he played the score on the piano and sang all the parts for the producer Charles Talar, who signed on and booked a run at the Palais des Congrès in Paris for the fall of 1998.It was fitting for Talar to get that venue, which is not a traditional theater but a cavernous concert hall, because he came from the music industry: He wanted to release an album first, then build on it to sell the stage show. It’s an approach Andrew Lloyd Webber successfully used for “Jesus Christ Superstar” and “Evita,” but overall it’s not common in the United States and Britain, where a show precedes its recording.“He assumed he could activate the networks he had built and use some of the same strategies he used to sell records,” Nicolas Talar said on Zoom, recalling his father’s game plan. (Charles Talar died in 2020.) “The idea was to familiarize audiences with the music before the show started. The specificity of French musicals is that we promote them the way we would promote a pop record. If one or two songs become popular, you’re the star of the moment, you get on television and people want to see you,” he added. “The only way to hear ‘Belle’ live was to see the musical.”That song, a trio for the three men in love with Esmeralda, was released in the spring of 1998, months before the show’s opening, and went on to become the biggest-selling single of the year in France.“There was this miracle — I don’t know how else to describe it — of ‘Belle,’” said Daniel Lavoie, 73, who played the archdeacon Frollo in the original production and is back in the cassock for the New York run. “It was almost 5 minutes, which was inconceivable on the radio at the time because they didn’t play anything longer than 3 minutes. I remember that at our first TV appearance we were asked to do the song again. We knew then we were onto something.”Another number, “Le temps des cathédrales,” was almost as popular — many Americans might have discovered it on the 2015 Josh Groban album “Stages” — cementing the status of “Notre Dame” as the It show that year. And unlike in the United States, where stage personalities don’t tend to make a dent on the Billboard Hot 100, it turned the cast members Garou, Patrick Fiori and Hélène Ségara into pop stars. (Lavoie already had an established career as a singer by then.)“Notre Dame” was so huge that other producers followed in Talar’s footsteps, most prominently Dove Attia, who was behind the popular “Les Dix Commandements” (2000), “Le Roi Soleil” (2005) and “Mozart, l’opéra rock” (2009). That last was among the few to actually, er, rock, which may partly help explain why those shows have not had much of an impact in English-speaking countries, where the tolerance for a high ratio of power ballads seems to be lower than in France, Russia or South Korea.A decisive move by the “Notre Dame” team was to have the cast sing live to recorded tracks, which are still used in productions worldwide, though the New York engagement will supplement them with a full orchestra. “If it ain’t broke, don’t fix it,” Lavoie said in English, before reverting back to French. “‘Notre Dame de Paris’ was conceived as a show outside of time.”“Notre Dame” has been translated into eight languages and performed in 23 countries, though its producers now prefer presenting it in the original French, which is how its cast of 30 will perform it in New York (with English supertitles). Still, this and similar musicals have faced an uphill battle to win over reviewers at home.“Musical theater doesn’t get much critical support in France,” said Laurent Valière, the producer and host of the weekly program “42e Rue” on French public radio as well as the author of a book about musicals. “The press pans it — sometimes with good reason and sometimes not.” (Full disclosure: I have been a guest commentator on the show.)The French hit factory seems to have hit a snag in recent years as it strains to find successors to the blockbusters of the 2000s. There are oddities like the biomusical “Bernadette de Lourdes,” which is based on the true story of a young girl who claimed to see the Virgin Mary and plays in Lourdes, the town where it all happened. In a different vein is “Résiste,” a jukebox musical based on France Gall’s pop songbook that benefited from a live band playing the original arrangements and contributions from the rising choreographer Marion Motin.Still, “Notre Dame de Paris” endures. “Another distinctive trait is that no matter where it’s playing, it’s staged the same way,” said Nicolas Talar, who is now producing the show and copresenting it in New York. (He also has producing credits on Broadway’s “Funny Girl” and “Moulin Rouge! The Musical.”)“Sometimes we wonder if the show has become outdated, but the themes are evergreen and the music was intentionally arranged to sound timeless, so we keep postponing making changes,” he added. “So far audiences haven’t complained and the show is doing well, so we’re staying the course.” More

As the first Arab Muslim lead in a comic book adaptation, the Egyptian American actor lists the things guiding him as he steps into the spotlight.Growing up in Pasadena, the actor Abubakr Ali never thought he’d play many lead roles. Even after coming up through the acting program at New York University and then the Yale School of Drama — where he graduated alongside the playwright Jeremy O. Harris and “The Gilded Age” actress Louisa Jacobson, the daughter of Meryl Streep — he’d become used to a world in which an Egyptian-born Arab American like himself would be relegated to the margins.When a script for Billy Porter’s directorial debut, “Anything’s Possible,” landed on his lap, he was too busy to thoroughly read and understand his part, but submitted a self-taped audition video anyway. It was during callbacks that he realized he was up for the lead in a classic, John Hughes-style high school rom-com, which starts streaming July 22 on Amazon Prime Video. Ali stars opposite the actress Eva Reign, who is trans.“I had never in my life seen a script where someone like me, or from my background, is a lead, period,” he said on a video call from his apartment in Harlem. “Being used to this industry, I just assumed it was a random side character, because the reality is that ours are two bodies not normally seen in these roles.”He booked the gig, and two days into the film’s shoot last year got a call: He’d landed the title role in “Grendel,” an upcoming Netflix series, which will make him the first Arab Muslim lead in a comic book adaptation.After an early Saturday morning of Eid prayer and working out, the actor, 31, delved into 10 things guiding him through the suddenly watershed year.These are edited excerpts from the conversation.1. Whale-watching This is the nerdiest, stupidest thing about me, but I just love water. Being around bodies of water perks me up, even if I’m just on a car ride and see one. Almost anytime I’m in Southern California, or come anywhere that has whales nearby, I’ll see if I can get on a boat to watch whales. There’s a humbling effect that you feel seeing these giant [expletive] just out in the world daily, doing their thing, moving around. It reminds you that there are things that are bigger than us, having an experience as beautiful as our own.2. Shopping for books (many of which he won’t read) I kind of browse like my immigrant mom does at Macy’s, but at the bookstore, where I just show up because I have nothing better to do. I walk around and see if the store’s employees have any recommendations, and walk away with, like, $100 worth of books, knowing full well I’m only going to read one of them. I’m very vibe-driven when it comes to picking out books. I wish I had a more sophisticated reason, but a good cover will do the job for me.3. The Rose Bowl’s Stadium Fitness program I grew up as an athlete, and my first job was teaching tennis. This was a business I knew through a family friend of mine I met while teaching and it’s a great space to just be outside, move your body and be social. It’s like Barry’s Bootcamp but chill; there’s a familial aspect that feels like home to me. There’s a 75-year-old couple I got to know through the program who become like my surrogate grandparents. It really is a space for everyone, which is beautiful.4. A picture of his family at his N.Y.U. graduation My dad passed away a few years ago, and he was probably the hardest-working and most generous person I know. Seeing this picture of my parents, sister and I reminds me to not forget where I came from. We came into this country with four of us sharing a one-bedroom for two, three years, so it always reminds me to work as hard as my dad did, and with the level of generosity that he had.5. Softness I had a professor at N.Y.U., Orlando Pabotoy, and I don’t think my career, or life, would be where they are were it not for him. He came up one day and said, “Abu, not this [clenching a fist], but this [extending the arm].” I fully recognize that it’s a privilege to be able to allow yourself to feel, but we live in such a jaded, hardened world that I like to remind myself to connect to a softness and openness.Billy [Porter] is very much an actor’s actor, and I was fortunate he trusted me with this character [in “Anything’s Possible”], and allowed me to make the stupid acting choices, to be a little dumb in the best way. The main thing I stuck to was the character’s sort-of lankiness. You don’t see that in most romantic leads, that softness.6. Sabry’s restaurant in Queens It’s this Egyptian seafood restaurant in Little Egypt, where I will very likely be going to tonight. It’s a great place, with amazing food, that reminds me of home a lot: You can order and kind of talk casually in Arabic with everyone; they’ll have a soccer game playing in the background. What I love about it is that it’s very much like Egypt, in its approach, where the waiters are chilling and you really have to tag someone down — and I say that with all the love in my heart. That’s how it is over there. You can get fire seafood and it’s unbelievably cheap. They have the fish sitting on ice, you pick the one you want, and walk out with a $40 bill. Which, for New York seafood, is wild.7. His Yale classmates There were so few of us, and I think something happened with my class where we were really keen on challenging everything around us and having conversations about how to move the industry and form forward. Every single one of them are people I will forever be grateful for, because they gave me a voice, in a way, in relation to my work. Before school, I’d always been kind of, “I’m an actor, I’m here to play a role the best way I can.” Working with them taught me to have something to say behind everything I do, to speak from where I am within my identity.8. Smuggling candy into the movies The candy you can actually stuff somewhere before going in. I’ll always get one of the more niche M & Ms, like caramel or peanut butter. I don’t mix them with the popcorn because they always get lost in there, so I’ll try to scoop them separately, but at the same time. The whole ordeal is genuinely disturbing to watch. If I ever have the money to do it, I would get one of those Coca-Cola Freestyles where you can pick a billion different options, and just go to town.9. “The Seagull” by Anton Chekhov I’ve always been a fan, but if ever I feel bad as an actor, I always look back to when we were doing a production [at Yale], and Meryl Streep was at one of the shows. She comes up to me after — I’ll never forget this — grabs my face, and goes, “Best Konstantin ever.” There’s a 99-percent chance that Meryl Streep was lying to me, or just being gracious, which I can still only be grateful for. But she once played it with Philip Seymour Hoffman in my role, and Louisa was now doing hers. So when she said that to me, I was like, “What the—.”10. Celebrating Eid I got up disastrously early, which is great; dressed nicely, which I rarely do; and went to prayer. I live in Harlem and there’s a large African Muslim population here. It was really beautiful seeing families with all the kids dressed up to the nines; just getting to see Muslims looking and dressing sexy, walking with pride on the streets. Growing up in Los Angeles, that wasn’t a thing you saw, except at prayer, so seeing that on the streets of New York is really joyful, and makes me stand two inches taller. More