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    Patti Harrison Wants to See What She Can Do

    Known for scene-stealing side characters, the comedian and actress is pushing past her limits with her starring role in “Together Together.”Patti Harrison, the actress and comedian, has taken one acting class in her life, an introductory course at Ohio University. “It was taught by a grad student and was very loose,” she said. “We mostly just did yoga.”One assignment was to perform an interpretive dance based on a poem. Harrison searched online for “dumb emo poems” and found one called “A Darkness Inside Me.” “Looking back on it now, I think it was about someone who’s an active shooter,” she said. “I did it as a joke, but no one took it as one.”Not many of Harrison’s jokes have fallen flat since. “Scene stealing” is one of the adjectives most applied to Harrison, who has appeared in alt-comedies like “Shrill,” “Search Party” and “Made for Love.” The downside of stealing scenes, of course, is that you generally don’t steal them on your own show. “I haven’t been in a million things,” she said. “And most of them have been really small, or guest parts.”This week, Harrison, 30, moves from one-offs and recurring parts to her first starring role in a feature film, in “Together Together,” one of the breakouts of this year’s Sundance Film Festival. The dramedy stars Harrison as a 26-year-old barista named Anna who is hired as a gestational surrogate by Matt, a single 40-something app designer (Ed Helms) who really, really wants a baby — as well as some sort of connection with the woman who’s having it.Ed Helms and Patti Harrison in “Together Together.”Tiffany Roohani/Bleecker StreetHarrison has already earned rave reviews, with critics describing her performance as “groundbreaking” and “revelatory”; The New York Times called the movie “sweet, sensitive and surprisingly insightful,” praising Harrison’s portrayal of Anna and her rapport with co-star Helms.“Patti was the actress for the part,” said the director Nikole Beckwith. “And to get her in her first leading role, I just feel like the luckiest person on Earth.”In a recent video interview, Harrison was in her home in Los Angeles talking about her childhood interests (there were many), the questionable roles she’s been offered as a transgender actress — “the first thing producers see in me is like, I’m trans” — and how “Together Together” came to be.The stories come fast and looping. Ask Harrison what she was into as a kid, and you get the full menu, in chronological order, from age 4 through high school: sharks; dinosaurs; insects/arachnids; Pokémon (“I was super, super into Pokémon”); video games; karate (“I was like, if I ever have to beat up 20 people at one time for absolutely no reason at all, I want to be able to do that”); guns; cars.“Together Together” came at a time when Harrison was at a crossroads in her life. Chantal Anderson for The New York TimesHarrison, whose mother is Vietnamese, grew up the youngest of seven siblings in a rural, conservative town in Ohio called, of all things, Orient. “I looked at the census when I was in high school, and it said there were zero Asian people in Orient,” she said.In college, Harrison joined an improv group at the prompting of a friend. She felt an immediate connection — the tightrope feel of it, the magic moments springing seemingly out of nowhere. “It still triggers a lot of anxiety in me,” she said. “But when it goes well, it’s amazing. You can make up stuff, and things can seem brilliant on accident. People will imbue intention into everything that you do.”In 2015, Harrison moved to New York and began doing standup comedy. There, she found fellow funny people like Julio Torres (“Los Espookys”), Jo Firestone (“Shrill”), and Ziwe Fumudoh, who recently filmed the music video “Stop Being Poor” with Harrison for her self-titled Showtime variety series. “Patti’s comedy comes from such a pure creative place, where she never does exactly the same thing twice,” Fumudoh said. “She’s phenomenally creative and original.”In 2017, Harrison was recording a commercial when she got a call from “The Tonight Show” to do a bit for the show that night about her reaction to Trump’s just-announced ban on transgender people in the military. (“I was shocked,” she said in the bit, “because I assumed he already did that.”) After the appearance, things exploded for Harrison. “My agent was like, there’s all these people who want to meet with you now,” she said.“But at the same time,” she continued, “there were a lot of people I felt that had pigeonholed me into this idea of what they thought I was. They were calling me an activist without any prior knowledge of me other than this piece, because I’m a transgender person who had spoken on something.”So while the appearance got her noticed, it was a very specific sort of notice, at least at first. In those early meetings with production companies, Harrison was brimming with pitches like, say, the one for a show about a dog and its dysfunctional, codependent relationship with the little bird that lives in his rectum. (“I gave them my gold ideas,” she said.) But all they were interested in were “stories about trans girls coming out and getting rejected by their families,” she said, or having her come on shows to talk about the difference between being gay and trans.All of which made “Together Together” that much more special. Here was a story about a clearly cisgender woman — the plot revolves around her character’s pregnancy, after all — in which the relationship between the younger woman and the older man is much more nuanced than one sees in a lot of rom-coms. Not as much will-they-or-won’t-they, and more: Where does all this lead, if anywhere?“It really takes a lot of humility to engage in a story like this, and Patti is very humble, and always authentic,” Helms said. “But then she’s also one of the funniest human beings on Earth.”The film came at a time when Harrison was at a crossroads in her life. “I didn’t know if I was going to go into acting more, or kind of lean into TV writing or comedy,” she said. “And I was processing a lot of feelings about my self-esteem, and body dysmorphia. But then I got the script, and it was very delicate and positive and sincere, which is the opposite of what I normally do in my comedy stuff.”Beckwith, the director, had spotted Harrison performing on a late night show and realized she had found her Anna. Harrison had an “amazing, salty, a little spiky, humor and way about her,” Beckwith said, that went hand in hand with her vision of Anna as “warm, like Patti, but not a totally open book.”“Together Together” was shot in just 19 days in the fall of 2019, with limited chances for retakes. “The scene where her water breaks — that was our version of a stunt,” said Beckwith. “And we only had two pairs of pants, so we could only do it twice.”Playing the lead “was very scary,” Harrison admitted. “But if I had known how much work it was going to be, I would have been way more scared. I think I was shielded a bit by being stupid about it.”The script for “Together Together,” Harrison said, “was very delicate and positive and sincere, which is the opposite of what I normally do in my comedy stuff.”Chantal Anderson for The New York TimesHarrison is getting fewer pitches for trans-centric roles nowadays, and she is busier than ever. In addition to “Together Together,” she is appearing in the final season of “Shrill” and singing, dancing and acting in “Ziwe,” and recently she joined the cast of the feature film “The Lost City of D,” alongside Sandra Bullock and Channing Tatum.Still, that doesn’t mean her days of being typecast are over. “Now I’m seeing a trend where people want me to read for stuff where I play a social media-obsessed millennial, this vapid turd person. So I’m moving away from offers where, ‘you’re a de-transitioning sex worker who finds that he likes his old lifestyle a little better than she thought,’ to ‘you’re one of the stupidest people on Earth. You only like social media and likes.’”The confidence Harrison gained from going “so far out of my comfort zone” has only fed her desire to move even farther out of it. What she’d really love to do is some sort of science fiction movie, the more action the better, she said, where she might indulge her childhood love of karate and get to say stuff like “zorbon crystals.” “I think there will always be a part of me that kind of fanboys out about action sci-fi,” she said, “just to see if I could do it.” More

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    Lupita Nyong'o in 'Pensive State' When It Comes to 'Black Panther 2' Without Chadwick Boseman

    Walt Disney Pictures

    The ’12 Years a Slave’ actress says the sudden passing of her co-star is ‘still extremely raw’ for her and she can’t imagine returning to the movie set without him.

    Apr 30, 2021

    AceShowbiz –
    Lupita Nyong’o is in a “pensive state” with regards to the “Black Panther” sequel.

    The actress will play the role of Nakia in the upcoming Marvel Cinematic Universe (MCU) film but “can’t imagine” returning to set without Chadwick Boseman, who played the lead role in the original but passed away last year aged 43 after a private cancer battle.

    Lupita said, “People will ask me, ‘Are you excited to go back?’ Excitement isn’t the word. I feel like I’m in a very pensive state when it comes to Black Panther 2. His passing is still extremely raw for me.”

      See also…

    “And I can’t even begin to imagine what it will be like to step on set and not have him there.”

    The “Us” star did praise the influence of director Ryan Coogler and believes that the sequel will “honour” Chadwick’s legacy.

    Lupita told Yahoo Entertainment, “But at the same time we have a leader in Ryan, who feels very much like we do, who feels the loss in a very, very real way as well. And his idea, the way which he has reshaped the second movie is so respectful of the loss we’ve all experienced as a cast and as a world. So it feels spiritually and emotionally correct to do this.”

    “And hopefully, what I do look forward to, is getting back together and honouring what he started with us and holding his light through it. Because he left us a lot of light that we’re still going to be bathing in. I know that for sure.”

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    ‘Marighella’ Review: Battle for Brazil

    Wagner Moura’s provocative feature debut chronicles the armed struggle led by Carlos Marighella against Brazil’s military dictatorship in the 1960s.In 2018, the Brazilian president Jair Bolsonaro declared that he wanted “a Brazil similar to the one we had 40, 50 years ago”— referring to the era of the country’s military dictatorship, which saw violent censorship and the torture of dissidents.This contemporary context underlines the barreling urgency of “Marighella.” Directed by Wagner Moura (the star of Netflix’s “Narcos”), the film chronicles the final years of Carlos Marighella, a Marxist revolutionary who led an armed struggle against the dictatorship in the 1960s. With a rousing, kinetic style reminiscent of “The Battle of Algiers,” and confrontational close-ups of fiery eyes and faces, the film is not merely a historical biopic — it’s a provocation.And a riveting one, too. Seu Jorge plays the charismatic Marighella, whom we meet as he leads a group of younger radicals in robbing a train carrying weapons. In flashback, we learn that Marighella was expelled from the Communist Party for his uncompromising commitment to guerrilla warfare. “An eye for an eye” is his cell’s motto, invoked throughout the film.The group struggles to balance itself on the razor’s edge of that phrase. “Marighella” plows stylishly through heists, showdowns and increasingly bloody shootouts, with the sadistic cop Lúcio (Bruno Gagliasso) on the militants’ tail. Yet the script makes room for wit as well as meaty ideological debate, delivered in crisp bullets of dialogue by a uniformly solid cast.“I’m your comrade,” Marighella’s wife, Clara (Adriana Esteves), says to him. “But don’t make me your accomplice. Don’t ask me for permission to leave here and die.” As the tragedies mount, Moura’s film becomes an elegy — not so much to Marighella as to an idealism consumed by the pyrrhic games of dirty regimes.MarighellaNot rated. In Portuguese, with subtitles. Running time: 2 hours 35 minutes. Watch through virtual cinemas. More

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    ‘The Virtuoso’ Review: A Paid Killer, Hitting Bum Notes

    Anson Mount plays the title character, who gets his assignments from Anthony Hopkins. But he keeps messing things up.The existential anxiety of the paid assassin is a tricky theme — so tricky as to be potentially invalid, even. “The Virtuoso,” directed by Nick Stagliano from a script by James C. Wolf, misses its shot in a spectacular, and sometimes spectacularly pretentious, fashion.The very square-jawed Anson Mount plays the title character. In the opening scene, he shoots a woman, straight through the sternum it looks like, while she’s naked and straddling a man backwards. She has the presence of mind to climb off her partner so Mount’s “virtuoso” can plug that man through the forehead.That’s the ostensible virtuoso’s best showing in the movie. Pompous second-person narration details the killer’s practices. He himself is frequently seen making faces in mirrors, as if to grow a personality. He gets orders from Anthony Hopkins — last weekend an Academy Award-winning actor, this weekend a monologue dispenser in a turgid piece of hackwork — that he proceeds to screw up time and again.Hopkins dispatches our antihero to a rural town where he must figure out his target. One possibility: a diner waitress played by Abbie Cornish, who has as far as I know done nothing to deserve this movie.It’s not just the title character who fails to thrive. The filmmaking is on occasion, to put it kindly, fractured. As the virtuoso begins a night raid, the voice-over explains he’s got to look out for dogs, which may be in the house he’s approaching. “On nights like this only the most cruel of owners leave their dogs out.” Nights like this? It’s not snowing, the virtuoso is wearing a pea coat — no gloves — and nobody is exhaling condensed breath. But OK.The VirtuosoRated R for the usual paid-assassin movie stuff, plus nudity. Running time: 1 hour 50 minutes. In theaters and available to rent or buy on Google Play, FandangoNow and other streaming platforms and pay TV operators. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters. More

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    ‘Things Heard & Seen’ Review: Another Real Estate Nightmare

    Amanda Seyfried and James Norton move into a haunted house in this busy, creaky Netflix thriller.I’ll say this much for “Things Heard & Seen”: it absolutely lives up to its name. If, out of curiosity or inertia, you let your Netflix algorithm have its way for two hours, you will definitely hear and see some things, though you may have trouble afterward remembering just what those things were.The movie, directed by Robert Pulcini and Shari Springer Berman, is based on a novel by Elizabeth Brundage called “All Things Cease to Appear,” which is a more intriguing title, though perhaps not as cinematic. In any case, the person doing most of the seeing and hearing is Catherine Claire (Amanda Seyfried), who has left New York City and moved into an old farmhouse in the Hudson Valley with her husband, George (James Norton), and their young daughter, Franny (Ana Sophia Heger).What happens up there might be taken as a cautionary tale for those who fled the city during the pandemic, or as an invitation to schadenfreude for those who didn’t. Not that “Things Heard & Seen” insists on relevance. It takes place in 1980, and as in many modern thrillers, the period setting seems mainly to be a matter of technology. Back then, there were no Google image searches, no weather apps and no Zillow listings. It was a good time to be a ghost.And, apparently, a bad time to be married to a professor of art history at a small liberal-arts college. George is a smug nugget of preppy pretension who has recently completed a dissertation on the painters of the Hudson River School. That lands him a gig at Saginaw College, and Catherine leaves behind her career as an art restorer to follow him there.The department chair (F. Murray Abraham) is a devotee of the teachings of Emanuel Swedenborg, an 18th-century Swedish mystic much admired by 19th-century American intellectuals. Among his followers was the landscape painter George Inness, a subject of George Claire’s research.These references add an overlay of cultural seriousness to an unsuspenseful and secondhand psychological haunted-house thriller. Shortly after their arrival, Catherine starts, well, hearing and seeing things. An old Bible appears on a shelf. The piano starts playing itself. Franny’s night light behaves strangely, and a spectral woman lurks in the shadows of her room. There’s also the smell of car exhaust in the middle of the night.The house, it turns out, had previously been the scene of marital unhappiness and possible murder, both in the 1800s and more recently. As George reveals himself to be a cheater, a gaslighter and an all-around sociopath, it looks as though the Claires might be headed in that direction, too.Which should be more interesting than it is. As should the college-town setting, which is a hive of badly kept secrets and barely controlled lust, with a population that includes some very fine character actors (Rhea Seehorn, James Urbaniak and Karen Allen in addition to Abraham). There are also two attractive targets for the Claires’ roving eyes: Alex Neustaedter, as a hunky handyman, and Natalia Dyer, as a Cornell student taking a leave of absence to train horses.But “Things Heard & Seen” is less than the sum of its potentially intriguing parts. Rather than interweaving domestic drama, supernatural mumbo-jumbo and campus naughtiness, Pulcini and Berman lurch from one scene to the next, squandering scares and undermining the momentum of the story. There should be more to see here.Things Heard & SeenNot rated. Running time: 1 hour 59 minutes. Watch on Netflix. More

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    ‘Berlin Alexanderplatz’ Review: Reframing an Urban Classic

    Burhan Qurbani’s film reinterprets a classic German novel into the story of a 21st-century immigrant from Guinea-Bissau surviving under the thumb of a brutal drug dealer.Alfred Döblin’s masterpiece “Berlin Alexanderplatz” received its most famous dramatization not at the movies but on TV, with Rainer Werner Fassbinder’s 15-hour adaptation in 1980. Burhan Qurbani’s ambitious film by the same name re-centers the Weimar Era original on a 21st-century immigrant from Guinea-Bissau who seeks the straight and narrow but works for a psychopathic drug dealer.Cash is one reason that Franz (a quietly winning Welket Bungué) stays in the orbit of Reinhold (Albrecht Schuch), a sniveling underboss who promises newcomers to Berlin a way out of poverty and discrimination. But Franz’s loyalty is rewarded with Reinhold’s sadistic betrayals, which leave Franz near dead and missing half an arm. Reinhold exerts a Svengali-like hold on Franz and the women they know, though the character’s questionable magnetism makes this dynamic increasingly baffling.The clubs and flats that Franz frequents evoke a Berlin demimonde that’s colorful yet curiously routine. A breathy voice-over attempts to imbue Franz’s travails with a tragic air, but it all just feels like a stew of unheeded warnings and wild missteps. And when Mieze (Jella Haase), a savvy and gemütlich escort, enters as Franz’s possible savior, she proves to be trusting to the point of incredulity (like other female characters in the film).Qurbani eschews Döblin’s panoramic view of Berlin and urban montage for a steady low fog of despair (until a tacked-on epilogue lets some sunshine in). His “Berlin Alexanderplatz” is a nice place to visit but you might not want to live there for three hours.Berlin AlexanderplatzNot rated. In German, with subtitles. Running time: 3 hours 3 minutes. Watch through virtual cinemas. More

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    ‘About Endlessness’ Review: Heaven Knows I’m Miserable Now

    Roy Andersson’s latest feature is a somber, exhilarating collection of self-defeating human specimens.In his elegy for William Butler Yeats, W.H. Auden instructed poets to “sing of human unsuccess/in a rapture of distress.” The Swedish filmmaker Roy Andersson may be the great cinematic bard of failure and futility, though his version of rapture is a decidedly low-key affair. “About Endlessness,” his new feature, is at once gloomy and vivid, 76 minutes worth of vignettes that are individually somber and cumulatively exhilarating.Anyone who has seen his “You, the Living” (2009) or “A Pigeon Sat on a Branch Reflecting on Existence” (2015) will be primed for this paradox. Viewers lucky enough to be discovering Andersson for the first time will receive a concise introduction to his method and sensibility.This isn’t to say that “About Endlessness” is exactly like the other films. As ever, Andersson favors washed-out colors and lived-in faces, people who move slowly and a camera that doesn’t move at all. Each shot is a kind of sight gag, a visual and philosophical joke with absurdity in the setup and sorrow in the punchline. But this time, more of the jokes are one-liners, in which the premise and the payoff are one and the same.Some of them are accompanied by the voice of a female narrator who calmly witnesses what we are watching. Her script is like the lyrics of Bob Dylan’s “A Hard Rain’s A-Gonna Fall”: a simple list of things she’s seen that is full of mystery and portent. “I saw a woman who had a problem with her shoe,” she says, as a woman breaks a high heel against the hard floor of a train station. Later, a man will have a problem with his car. But not everything our invisible guide sees is so mundane. “I saw a man who tried to conquer the world and failed,” she says, as actors playing Adolf Hitler and other high-ranking Nazis gather in a room while bombs fall outside.She also sees a few people more than once, notably a priest who has lost his faith. He appears first in a dream, hauling a heavy cross up a Stockholm street while being screamed at, flogged and kicked by ordinary-looking modern city residents. The image is jarring because it is incongruous and also completely transparent. We don’t expect to see this particular form of cruelty in this setting, but at the same time we know exactly what it means.Later, the priest will visit a psychiatrist, an encounter echoed in a later meeting between a dentist and a patient who refuses anesthesia. He’s afraid of needles, he explains, before his howls of pain drive the doctor out of the office and into a bar downstairs. Not that liquor is much of a palliative. The pain that Andersson diagnoses is incurable.Though perhaps not entirely untreatable. Against the misery of existence, there is the discipline of art, which can be, in the right hands, a kind of homeopathy. There is something unmistakably tender about the way Andersson regards his mopey, weary, self-defeating characters, most of whom are as gray and lumpy as the clouds that hover over them. They are the kind company that misery loves, and therefore a source of unexpected consolation.About EndlessnessNot rated. In Swedish, with subtitles. Running time: 1 hour 16 minutes. In theaters and available to rent or buy on Google Play, FandangoNow and other streaming platforms and pay TV operators. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters. More