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      ‘Ghostlight,’ ‘Watcher’ and More Streaming Gems

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      A pair of carefully crafted character studies and three female-fronted thrillers are among the gems hidden on your subscription streaming services this month.‘Ghostlight’ (2024)Stream it on Hulu.So few films concern the daily lives of the working class, in any meaningful way, that it’s sort of astonishing when one comes along that feels so embedded there. That’s the case with this heart-tugging drama from the directors Kelly O’Sullivan and Alex Thompson (“Saint Frances”), in which a grieving father stumbles into a community theater production of “Romeo and Juliet.” Keith Kupferer is marvelous as the father, beautifully capturing the frustrations and emotional limitations of his class and generation, while Katherine Mallen Kupferer performs modestly as his wife, until a late moment that absolutely clobbers you. And that, in many ways, holds true for the entire movie.‘Goodrich’ (2024)Stream it on Max.“This midlife crisis is no walk in the park, I’ll tell you that,” snorts Andy Goodrich (Michael Keaton) near the end of this poignant comedy-drama, and while his daughter Grace (Mila Kunis) notes the mathematical improbability that 60-something is “midlife,” the sentiment stands. Andy, the owner-operator of a Los Angeles art gallery that’s seen better days, is in free-fall. His wife has just checked herself into rehab, much to his bafflement (he’s so checked out, he never noticed her addiction), leaving him to care for their elementary-school aged twins himself. Keaton is credited as an executive producer, and it’s easy to see why the project was important to him; the writer-director Hallie Meyers-Shyer hands him a stellar showcase, a guy who talks fast and thinks faster, and whose inherent likability helps soften his obvious flaws. The result is a poignant examination of getting older and wondering if you’ve lost it — whatever your particular “it” may be.‘Saint Maud’ (2021)Stream it on Amazon Prime Video.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Gene Hackman’s Wife Died at Least a Day Later Than Originally Thought

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      Betsy Arakawa made several calls to a medical clinic on Feb. 12, the day after the authorities initially believed that she died.The authorities in New Mexico have recovered evidence that Betsy Arakawa, the wife of the actor Gene Hackman, died at least one day later than they had previously estimated.The New Mexico authorities initially believed that Ms. Arakawa had likely died of a rare viral infection on Feb. 11, because that was when she was last seen publicly and stopped returning email correspondence.But after analyzing her cellphone, investigators learned that Ms. Arakawa had made three phone calls on the morning of Feb. 12, Denise Womack-Avila, a spokeswoman for the Santa Fe County Sheriff’s Office, said on Monday. She said that Ms. Arakawa had made the calls to a concierge medical service, Cloudberry Health.Dr. Josiah Child, the lead physician there, said in an interview that the clinic called Ms. Arakawa back that morning and scheduled an appointment for that afternoon. He said she had reported feeling congested but that there were no signs of respiratory distress. Ms. Arakawa did not show up for her appointment that afternoon, Dr. Child said.“I suspect that she was starting to feel ill and that’s why she reached out to us,” he said.Ms. Arakawa and Mr. Hackman were both found dead in their secluded home outside of Santa Fe late last month. The state medical examiner concluded that Ms. Arakawa, 65, died from the effects of hantavirus, which is contracted through exposure to excrement from rodents. The virus can cause flulike symptoms before progressing to shortness of breath, as well as cardiac and lung failure.They said that Mr. Hackman, who had Alzheimer’s, spent another week in the house with her body and died Feb. 18 of heart disease.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Conan O’Brien to Host the Oscars Next Year, Too

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      Mr. O’Brien received high marks for his work as the emcee of the 97th Oscar telecast this month. It was his first time hosting the show.Conan O’Brien will reprise his Oscar hosting duties next year, the Academy of Motion Picture Arts and Sciences said Monday morning, in one of the earliest renewals for an Oscar host.The news comes after Mr. O’Brien received high marks for his work as the emcee of the 97th Oscar telecast, which delivered a five-year ratings high for ABC this month. It was his first time hosting the show.“The only reason I’m hosting the Oscars next year is that I want to hear Adrien Brody finish his speech,” Mr. O’Brien said in a statement, referring to Mr. Brody’s five-minute oration after winning the Oscar for best actor.The show’s producers, Jeff Ross and Mike Sweeney, will also return for a second year. And the ceremony’s executive producers Raj Kapoor and Katy Mullan, will be back for a third consecutive year. The ceremony will be held on March 15, 2026.The job of hosting the Oscar telecast is often a thorny one. The comedian Chevy Chase called it “the most thankless job in the world.” The hosts rarely get credit when things go right — and are often held responsible when things go wrong.In the past few years, the academy has tried to shore up the assignment early, though it didn’t announce its most recent hosts until the November before the March telecast. Jimmy Kimmel signed on for his fourth and final turn in November 2023, and Mr. O’Brien was named in November 2024.“Conan was the perfect host — skillfully guiding us through the evening with humor, warmth and reverence,” Bill Kramer, the academy’s chief executive, and Janet Yang, the group’s president, said in a statement. More

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      Gene Winfield, Whose Cars Starred in Film and on TV, Dies at 97

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      He was know for modifying cars with innovative metal work and paint jobs, and for building vehicles like the Galileo shuttle for the original “Star Trek” series.Gene Winfield, a hot rodder and prominent car customizer who built fanciful vehicles for “Star Trek,” “The Man From U.N.C.L.E.” and other television series and for films like “Blade Runner” and “Sleeper,” died on March 4 in Atascadero, Calif. He was 97.His son, Steve, said he died in an assisted living facility from metastatic melanoma. He had also been diagnosed with kidney failure.Mr. Winfield began to attract national attention in the late 1950s with a two-door 1956 Mercury hard top called the Jade Idol.According to the custom car website Kustorama, he transformed the Mercury for a customer by adding features like handmade fenders rolled in aluminum in the front end; headlight rings made from 1959 Chrysler Imperial Crown hubcaps; a television set integrated into a new dashboard; and a steering column taken from an Edsel.The restored Jade Idol in Salinas, Calif., in 1981. Mr. Winfield first attracted national attention in the late 1950s with the car, a customized two-door 1956 Mercury hardtop.David GrantAutomobile magazine described the Jade Idol as having “a sharklike presence that represented a new direction in customs.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Gemma Chan Gets Joni Mitchell’s ‘Blue’ More as She Gets Older

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      The actress, now starring in “The Actor,” talks about Schubert, “In the Mood for Love” and other art, food and pets that she loves.After captivating audiences as the glamorous Astrid in “Crazy Rich Asians,” Gemma Chan was sent quite a few scripts with dignified but unhappy wives.She sensed trouble ahead.“There’s a danger of being typecast,” she said. “But I’m still a work-in-progress pushing back on that. I want to do something different and show something different and tell a different story.”Her new film, “The Actor,” directed by Duke Johnson, checked those boxes. Chan plays Edna, a costume designer in a factory town and the romantic interest of an amnesiac.She had loved Johnson’s haunting animated movie “Anomalisa,” and she responded similarly when she read “The Actor.”“Then I spoke to Duke about how he planned to shoot it, which was in quite a different way to anything that I’ve shot before,” she said. “Quite experimental, bringing elements that were quite theatrical and quite stylized.”Chan has also wrapped “Josephine,” with Channing Tatum, about an 8-year-old who witnesses an assault. And she is producing her own work: an adaptation of the “Rise of the Empress” fantasy book series for Amazon Prime Video, and an unconventional history of Anna May Wong, considered to be the first Chinese American movie star.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      In ‘Meanwhile,’ a Nation Remembers to Breathe

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      The director Catherine Gund fuses work from multiple artists with archival footage and interviews to craft an exploration of Black resilience.The makers of “Meanwhile” (in theaters) describe it as a “docu-poem,” which is a bold choice: Not many people encounter feature-length nonfiction poetry onscreen. But in about 90 minutes, the director Catherine Gund fuses work from multidisciplinary artists, words from the author Jacqueline Woodson, soundscapes by the musician Meshell Ndegeocello, archival footage and interviews in a way that elevates each of those elements, crafting an exploration of Black resilience. If in verbal poetry the meaning often resides in surprising juxtapositions, words used in ways that surprise and unsettle us, then this is, indeed, poetry.The spine of the film is breath: the act of breathing, the suppression of breathing, the absolute necessity of sharing breath, and space, with one another. Throughout the film, the sound of someone breathing is layered into images of artworks, threaded through conversations, quietly present beneath spoken lines. It’s intimate, an invitation to consider the theme.And to expand it, too: Artists and activists, the film suggests, generate breath for a community to take in — and breath is what makes survival possible. In this case, the focus is on Black Americans, as illustrated by clips of grief and police violence toward civilians in the wake of George Floyd’s death. But more than simply meditating on a community’s turmoil and pain in a single historical moment, “Meanwhile” extends its gaze forward and backward, asking what joy looks like, and what it takes to keep on breathing when the world wants you to stop.Near the start, onscreen text provides a twofold definition of the word “meanwhile.” The first is sequential: “in the intervening period of time.” The second is simultaneous: “at the same time.” The two seem a bit contradictory, but as “Meanwhile” builds to a crescendo, it becomes clear how in harmony they are. In an archival interview, the musician Nina Simone says that “freedom is a feeling,” and that it means “no fear.” Thus, the movie suggests, freedom is something you can experience while also working toward freedom’s creation. Artists know that for sure — “Meanwhile” aims to make it clear to everyone.Poetry by nature is allusive rather than literal. It gestures at meaning while trusting readers to lean in and discover significance for themselves. “Meanwhile” works the same way, and thus feels like both a provocation and a request to consider what flourishing looks like in this chaotic moment — for Black Americans, and for anyone who finds themselves drowning, struggling to breathe. More

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      Florida Mayor Threatens Cinema Over Israeli-Palestinian Film

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      The mayor of Miami Beach wants to end the lease of a group renting a city-owned property because it is screening the Academy Award-winning “No Other Land” there.The mayor of Miami Beach is seeking to oust a nonprofit art house cinema from a city-owned property for showing “No Other Land,” the Oscar-winning documentary that chronicles the Israeli demolition of Palestinian homes in Masafer Yatta in the southern West Bank.The mayor, Steven Meiner, introduced a resolution to revoke the lease under which O Cinema rents the space, he announced in a newsletter this week. He described the film as “a false, one-sided propaganda attack on the Jewish people that is not consistent with the values of our city and residents.”Kareem Tabsch, the co-founder of O Cinema, said that the threat of losing its physical location in Miami Beach was “very grave and we take it very seriously.”“At the time, we take very seriously our responsibility as a cultural organization that presents works that are engaging and thought provoking and that foster dialogue,” he said. “And we take very seriously our responsibility to do that without interference of government.”The American Civil Liberties Union of Florida, which is now co-counsel for the theater, criticized the mayor’s move, as did the makers of the film, which won the Academy Award for best documentary earlier this month but has not been acquired in the United States by a traditional distributor for either a theatrical or streaming release. Distributors in two dozen other countries had picked up the film even before it won the award.Daniel Tilley, the legal director of the Florida branch of the ACLU, said in an interview that “what’s at stake is the government’s ability to use unchecked power to punish those who dare to express views that the government disagrees with.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Young Hearts’ Review: Finding Acceptance

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      In this coming-of-age drama from Belgium, a 14-year-old boy falls in love with his neighbor and questions his sexual identity.There are no bigoted relatives or homophobic bullies in the pleasantly modest coming-of-age film “Young Hearts.” Instead, Elias (Lou Goossens), a 14-year-old boy, wrestles mostly with himself after he falls in love with Alexander (Marius De Saeger), his new neighbor.Shot primarily outdoors, in the Belgian countryside where the two boys ride their bikes and lounge by lakes, this debut drama by Anthony Schatteman presents a familiar conflict: Alex, who is originally from Brussels, isn’t afraid to be openly gay, whereas the provincial Elias treats their romance like a shameful secret.Elias’s friends at school, including his quasi-girlfriend Valerie (Saar Rogiers), think he’s straight, and because his dad, Luk (Geert Van Rampelberg), is a famous crooner of kitschy Flemish love songs, he’s already sensitive about being mocked.The assumptions of Elias’s family members about his sexuality — and the total absence of queer people in his life up to this point — are enough to convince him his feelings for Alex are abnormal. His mother Natalie (Emilie De Roo) and his grandfather Fred (Dirk Van Dijck) are more sensitive listeners than his self-absorbed father, but Elias insists on keeping things bottled up.The film shifts between Elias’s states of blissful surrender and angsty repression, capturing him in emotionally baring close-ups. Naturalistic performances and quiet scenes of summertime idling bring to mind Luca Guadagnino’s drama “Call Me By Your Name,” though “Young Hearts” is a more wholesome, and ultimately more cliché, endeavor. In the end, teenage brooding gives way to a sparkling fairy tale finale that shows that there was nothing for Elias to worry about, after all.Young HeartsNot rated. Running time: 1 hour 37 minutes. In theaters. More