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    ‘Cowboys’ Review: Abduction on Demand, by Horseback

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main story‘Cowboys’ Review: Abduction on Demand, by HorsebackSteve Zahn excels as the father of a trans child in this Western-flavored family drama, “Cowboys,” from Anna Kerrigan.Steve Zahn and Sasha Knight in “Cowboys.”Credit…Samuel GoldwynFeb. 11, 2021, 7:00 a.m. ETCowboysDirected by Anna KerriganDrama1h 23mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.The crisis for the couple at the heart of “Cowboys” begins when their son, Joe (Sasha Knight), expresses his desire to transition.In this Western-influenced family drama, the father, Troy (Steve Zahn), is happy to acknowledge his son’s identity, but Troy’s scatterbrained sweetness makes it hard for his wife, Sally (Jillian Bell), to see his support as anything more than indulgence. At home, Sally enforces girliness, and she wins custody when she and Troy separate.[embedded content]Joe begs his father to take him away. In response, Troy steals his son from home, and leads him into the woods on horseback. The legal term for Troy’s actions is kidnapping, and Sally calls on the police to help her find her lost family.The conflicts at the heart of “Cowboys” are timely, coming in a moment when trans children and their rights are at the forefront of American political debate. But the writer and director Anna Kerrigan doesn’t sensationalize her story. Her characters don’t speak as if they were addressing the audience from a pulpit. Instead, she shows Troy, Sally and Joe communicating through their disagreements; she pays attention to what behaviors come out when they are under pressure. This sensitivity grants the film a mellow feel — the understated “Cowboys” lopes, never quite working up the excitement of a gallop.The observant nature of this character drama offers Zahn in particular the opportunity to expand into new territory. He hasn’t lost the spaciness that once made him a lovable comedic sidekick, but here fatherhood endows that same charm with pathos, even tragedy. He understands and supports his son, but he may not have the wherewithal to make decisions that will benefit them both.CowboysNot rated. Running time: 1 hour 23 minutes. On virtual cinemas and available to rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators.AdvertisementContinue reading the main story More

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    ‘Land’ Review: True Nature

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s Pick‘Land’ Review: True NatureIn her feature directing debut, Robin Wright plays a woman who moves alone to the mountains.Robin Wright in “Land,” which she also directed.Credit…Daniel Power/Focus FeaturesFeb. 11, 2021, 7:00 a.m. ET”Land”NYT Critic’s PickDirected by Robin WrightDramaPG-131h 29mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.The beauty of the mountain regions of Alberta, Canada, is presented in modes both lush and piercingly sharp in Robin Wright’s feature directing debut, “Land.” Wright also plays the lead role, Edee, a grieving woman who wants to get away from the world.Many say they’d like to do that, but Edee means it. As she heads off to a mountaintop where she’s bought a minimally equipped cabin, she sees an incoming call on her iPhone. She throws the phone in a trash bin. At the cabin, she asks the man who’s handing it over to her to drive her rental car back down the mountain. “It’s not a good idea to be out here without a vehicle,” he warns. She does not heed him.[embedded content]“This isn’t working,” Edee admits to herself as hard winter sets in. We’ve seen flashbacks to her former life, so we’re now partially aware of her situation. Through impressionistic shots that seem part flashbacks, part wishful visions, we get glimpses of an existence that is no longer Edee’s. And we begin to understand that while she’s come to this location perhaps in part to relive scenes from that life, she may also be actively courting death.Suffering from exposure and dehydration, she’s found by a hunter, Miguel. With the help of his sister, a doctor, Miguel brings Edee back from the brink of death. The hunter is played by Demián Bichir, a great actor who very well may have the saddest eyes of anyone working in movies today. “Why are you helping me?” Edee asks. “You were in my path,” he says.As they get to know each other a little, Miguel recognizes the arrogance and egotism that have made Edee’s mourning a destructive thing. To her assertion, “I’m here in this place because I don’t want to be around people,” he responds, in a gentle voice, “Only a person who has never been hungry thinks starving is a good way to die.”Miguel reveals the losses in his own past, but it’s only at the movie’s very end that we learn how deep his injury, and indeed his self-injury, have gone. And what Edee’s been keeping hidden also comes fully to light. What’s left is reconciliation. If possible.Wright’s movie is ambitious (that location! that weather!), but not grandiose. Its storytelling economy helps make it credible and eventually moving. While “Land” sometimes leans too hard on conventional signifiers (the rootsy music score is predictably somber), it’s a distinctive, strong picture.LandRated PG-13 for themes and imagery. Running time: 1 hour 29 minutes. In theaters. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.AdvertisementContinue reading the main story More

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    ‘The World to Come’ Review: Cold Comfort

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s Pick‘The World to Come’ Review: Cold ComfortKatherine Waterston and Vanessa Kirby play two women who share a gradually recognized love in upstate New York in 1856.Katherine Waterston and Vanessa Kirby in “The World to Come.”Credit…Vlad Cioplea/Bleecker StreetFeb. 11, 2021, 7:00 a.m. ETThe World to ComeNYT Critic’s PickDirected by Mona FastvoldDramaR1h 38mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Though shot in Romania, “The World to Come,” directed by Mona Fastvold, conjures an almost artisanal feeling of life in rural upstate New York in 1856. Generically, it plays like a western — a romance in untamed territory where snowy landscapes foster isolation, not explorative possibilities. When her young daughter dies of diphtheria, Abigail (Katherine Waterston) does not anticipate “a better world to come.”Still, the shy Abigail’s life improves when she meets a new neighbor, Tallie (Vanessa Kirby), who becomes her brash and effusive foil. Abigail can’t decipher Tallie’s relationship with her husband, Finney (Christopher Abbott), whose outward civility masks an abusive streak. Abigail’s husband, Dyer (Casey Affleck), a farmer with a fondness for mechanical tools, initially seems like the less polished of the men.[embedded content]Despite pervasive voice-over supplied by Abigail’s writerly diary entries, “The World to Come” leaves much unsaid. When Tallie asks Abigail what she thinks about the two of them together, Abigail says she does not “know how to put it into words.” (The screenplay is by Ron Hansen, of “The Assassination of Jesse James by the Coward Robert Ford,” and Jim Shepard, from a story by Shepard.)Waterston and Kirby are both superb at creating characters whose attraction must be shown to grow by degrees, without overt admission. Affleck and Abbott, too, navigate a tricky dynamic, playing men who perhaps lack an understanding of their own compassion or brutishness. The use of film stock, natural light, narrow compositions and an offbeat, clarinet-heavy score by Daniel Blumberg all contribute to the sense of a story dusted off from the past.The World to ComeRated R. Discreet sex; animal slaughter. Running time: 1 hour 38 minutes. In theaters. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.AdvertisementContinue reading the main story More

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    COVID-19 PSA Uses Harry Potter, Wonder Woman, Joker to Urge People to Mask Up

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    Created from partnership between the Ad Council, the CDC and WarnerMedia, the ad features various fan-favorite characters from Warner Bros. films wearing face masks.

    Feb 11, 2021
    AceShowbiz – Your favorite fictional superheroes are setting good example of how everyone should dress nowadays amid the coronavirus pandemic. A new COVID-19 PSA is making use of Warner Bros. characters to urge people to wear face masks to help stop the spread of the coronavirus.
    The 30-second clip, which is developed in partnership between the Ad Council, the CDC and WarnerMedia, features Harry Potter, Neo of “The Matrix”, The Flash, Wonder Woman and Aquaman masking up like everyone should during the ongoing pandemic. Mashing up original scenes from the movies, which include “The Lord of the Rings”, “Austin Powers” and “Mad Max: Fury Road” among others, the ad also sees Michael B. Jordan’s Adonis “Donnie” Johnson, Joaquin Phoenix’s Joker and Margot Robbie’s Harley Quinn wearing face masks while training, dancing on stairs and hanging upside down respectively.
    “Let’s get back to doing our favorite things, whatever that might be. Slow the spread. Mask up America,” say the captions throughout the advert.

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    In a statement released to press on Wednesday, February 10, Ad Council President and CEO Lisa Sherman expressed her gratitude to Warner Bros. for lending its characters to deliver the important message, “We know that face masks continue to be one of the most effective ways we can protect ourselves against the virus, and we’re truly grateful to Warner for lending their talent and iconic films to support to this critical message.”
    Dennis Williams, senior VP of corporate social responsibility at WarnerMedia, said in his own statement, “WarnerMedia is proud to help educate and inform our fans about the importance of mask wearing during this pandemic.”
    “Wearing a mask is an effective way to protect ourselves and our loved-ones from COVID-19,” he went on reminding. “We hope that by seeing some of our favorite heroes and characters masked up, our fans will follow suit. Mask wearing is a simple step we all can take to show up and support our communities during this difficult time.”
    The advert is going to run during donated media time across America, and will also feature on WarnerMedia’s various platforms, including HBO, Turner, Rooster Teeth, Crunchy Roll, and Bleacher Report. They have also made the spot free for use by broadcast and digital news outlets.

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    Tom Holland's Mom Upset by His Role in Hard-Hitting New Movie 'Cherry'

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    The ‘Spider-Man: Far From Home’ actor reveals his mother Nicola was caught off guard by his onscreen performance as a struggling drug addict in his new movie.

    Feb 11, 2021
    AceShowbiz – Spider-Man star Tom Holland received an earful from his mother after upsetting her with a clip of his new crime drama “Cherry”, in which he plays a struggling drug addict.
    The actor, 24, takes on the titular role as an Army veteran who self-medicates to treat his post-traumatic stress disorder and resorts to bank robbery to feed his addiction, but his mum, Nicola Frost, was left thoroughly unimpressed after receiving an unexplained sneak peek at a gruelling scene.
    “Biggest mistake ever,” Tom recalled of the text drama. “I was like, ‘This is how my day’s going,’ and she was furious with me.”
    “I guess I wasn’t thinking right, and I was like, ‘Do you know who would really like to see this? My mum.’ In hindsight, it was a really stupid thing to have done.”

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    He continued, “I think when my mum goes to see my films in particular, the thing she likes the most are the moments she goes, ‘Oh, that’s my little boy.’ But in this film there’s nothing like that.”
    Nicola and Tom’s father, Dominic Holland, eventually embraced the hard-hitting “Cherry”, and that came as a huge relief to the young star, as he treasures their opinions of his work.
    He told Esquire magazine, “They were able to enjoy it as a movie and not a biopic of their son doing heroin. They are really proud, and they really liked it.”
    “If I seek anyone’s approval, it would be my parents. That would be the highest level of achievement.”
    Tom Holland’s other new movies include sci-fi action “Chaos Walking”, a “Spider-Man: Far From Home” sequel, and video game adaption “Uncharted”.

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    In ‘Demonlover,’ Cyber Kicks and Dangerous Video Games

    #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyIn ‘Demonlover,’ Cyber Kicks and Dangerous Video GamesA new director’s cut restores the nasty glory of Olivier Assayas’s 2002 thriller about global elites and pornographic anime.Chloë Sevigny in a scene from “Demonlover,” a thriller directed by Olivier Assayas.Credit…Janus FilmsFeb. 10, 2021, 3:55 p.m. ETMoving confidently back and forth between youth films, backstage stories, family sagas, period pieces, melodramas, romantic comedies, diva vehicles and biopics, Olivier Assayas may be the most versatile French director of his generation.“Demonlover” (2002), streaming via Film at Lincoln Center in a new director’s cut, combines several modes. It’s an intricately plotted, cool and nasty cyber-thriller that, twisting itself into a Möbius strip, means to expose cutthroat industrial intrigue in the video game industry.Snazzy from the onset, “Demonlover” opens mid-red-eye in a first-class airline cabin populated by high-powered business types. As her colleagues snooze, the enigmatic Diane (an elegantly wan Connie Nielsen) laces one of their water containers with a powerful sedative to eliminate a rival. Complications ensue, accentuated by hard-edge techno and a score mainly supplied by Sonic Youth.Cutting on motion from close-up to close-up (or from TV to laptop screen), “Demonlover” gives the impression of continuously switching the channel. A heady globalism prevails. Business lunches are negotiations in three languages. Casual references to Qatari real estate deals punctuate the matter at hand, namely an interest by Diane’s firm in acquiring worldwide distribution rights for pornographic anime — providing none of the female cartoon characters are underage. The meeting smoothly segues to the animation studio, a strobe-lit Tokyo disco, then back to a hotel where, having revved their engines on separately watched porn, Diane and her boss Hervé (Charles Berling) go through the motions of nearly having sex.Every character in “Demonlover” is a player in a murkily grasped game. As impassive as she is, Diane demonstrates her action chops, fencing with two rival women. An American interloper (Gina Gershon, bursting onto the scene in an “I ♥ Gossip” T-shirt) briefly commands the movie, while Diane’s grouchy assistant Elise (Chloë Sevigny) conspires behind the scenes.Elise maintains the illusion of a normal life, checking on her babysitter in the midst of brutal intrigue, even as Diane’s role as a double (triple?) agent appears increasingly theoretical. Like her, the movie grows more abstract as the action accelerates. Well before coldblooded Diane survives a car-crash conflagration, it’s apparent that she is some sort of avatar, a kind of Lara Croft (or maybe a replicant gone rogue) living in a live-action anime.The plot doesn’t thicken so much as dissolve or self-destruct. “Demonlover” evokes “Irma Vep” (1996), Assayas’s mock vérité account of an unmade French crime film, in pondering its entertainment context, which, in this case, is a world of soulless sensation and virtual thrills. (The movie also recalls David Cronenberg’s hilariously maligned “Videodrome,” from 1983, which concocts a cable TV network even creepier than the S&M website that holds Diane in thrall.)As noted by Stephen Holden in his New York Times review, “‘Demonlover’ is a movie about becoming what you watch,” not least if the viewer is a suburban teenager supposedly doing his homework. The movie struck many as annoyingly trendy when it premiered at Cannes in 2002. Nearly two decades later, its Everything-is-Now pyrotechnics have aged well, although it is hard to ignore the flip-top phones.DemonloverAvailable to stream starting Feb. 12 at Film at Lincoln Center; filmlinc.org.AdvertisementContinue reading the main story More

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    'Love Affairs' Leads Nominations for 2021 Cesar Awards With 13 Nods

    Moby Dick Films

    The movie directed by Emmanuel Mouret dominates the nominations at the upcoming France movie awards with a total of 13 mentions including Best Film and Best Director.

    Feb 11, 2021
    AceShowbiz – Emmanuel Mouret’s “Love Affairs” led the nominations for France’s Cesar Awards, with 13 nods, including for best film, best director, best actress for Camelia Jordana, and best actor for Niels Schneider.
    The movie – “Les Choses Qu’On Dit, Les Choses Qu’On Fait (The Things We Say, The Things We Do)” – also earned nominations for supporting actress Emilie Dequenne and supporting actor Vincent Macaigne, as well as Julia Piaton, who is up for the best female newcomer gong. Mouret’s film also received nominations for best production design, best original screenplay, best cinematography, best editing, and best costume design.
    Francois Ozon’s “Summer of 85” and Albert Dupontel’s “Bye Bye Morons” are close behind “Love Affairs” with 12 Cesar Award nominations, including for best film and best director.
    Meanwhile, the controversial Netflix movie “Cuties” – about an 11-year-old Senegalese girl in Paris, France who joins a risque dance troupe to escape family dysfunction – is up for best first film, as well as a best female newcomer nomination for Fathia Youssouf.
    And Sam Mendes’ “1917” and Todd Haynes’ “Dark Waters” are among the movies up for the Best Foreign Film prize.
    The Cesar Awards are scheduled to take place on 12 March (21) at Paris’ Olympia theatre although it remains to be seen if they will operate as normal or virtually amid the ongoing Covid-19 pandemic.
    The full list of nominations at the 2021 Cesar Awards is as follows:
    Best Film:
    “Adieu Les Cons”, dir: Albert Dupontel
    “Adolescentes”, dir: Sebastien Lifshitz
    “Antoinette Dans Les Cevennes”, dir: Caroline Vignal
    “Les Choses Qu’On Dit, Les Choses Qu’On Fait”, dir: Emmanuel Mouret
    “Ete 85”, dir: Francois Ozon

    Best Director:
    Albert Dupontel, “Adieu Les Cons”
    Maiwenn, “DNA”
    Sebastien Lifshitz, “Adolescentes”
    Emmanuel Mouret, “Les Choses Qu’On Dit, Les Choses Qu’On Fait”
    Francois Ozon, “Summer Of 85”

    Best Actress:
    Laure Calamy, “Antoinette Dans Les Cevennes”
    Martine Chevallier, “Two Of Us”
    Virginie Efira, “Adieu Les Cons”
    Camelia Jordana, “Les Choses Qu’On Dit, Les Choses Qu’On Fait”
    Barbara Sukowa, “Two Of Us”

    Best Actor:
    Sami Bouajila, “Un Fils”
    Jonathan Cohen, “Enorme”
    Albert Dupontel, “Adieu Les Cons”
    Niels Schneider, “Les Choses Qu’On Dit, Les Choses Qu’On Fait”
    Lambert Wilson, “De Gaulle”

    Best Foreign Film:
    “1917”, dir: Sam Mendes
    “La Communion”, dir: Jan Komasa
    “Dark Waters”, dir: Todd Haynes
    “Another Round”, dir: Thomas Vinterberg
    “Eva En Aout”, dir: Jonas Trueba

    Best Supporting Actress:
    Fanny Ardant, “DNA”
    Valeria Bruni Tedeschi, “Summer Of 85”
    Emilie Dequenne, “Les Choses Qu’On Dit, Les Choses Qu’On Fait”
    Noemie Lvovsky, “La Bonne Epouse”
    Yolande Moreau, “La Bonne Epouse”

    Best Supporting Actor:
    Edouard Baer, “La Bonne Epouse”
    Louis Garrel, “DNA”
    Benjamin Lavernhe, “Antoinette Dans Les Cevennes”
    Vincent Macaigne, “Les Choses Qu’On Dit, Les Choses Qu’On Fait”
    Nicolas Maire, “Adieu Les Cons”

    Best Female Newcomer:

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    Melissa Guers, “La Fille Au Bracelet”
    India Hair, “Poissonsexe”
    Julia Piaton, “Les Choses Qu’On Dit, Les Choses Qu’On Fait”
    Camille Rutherford, “Felicita”
    Fathia Youssouf, “Cuties”

    Best Male Newcomer:
    Guang Huo, “La Nuit Venue”
    Felix Lefebvre, “Summer Of 85”
    Benjamin Voisin, “Summer Of 85”
    Alexandre Wetter, “Miss”
    Jean-Pascal Zadi, “Tout Simplement Noir”

    Best Original Screenplay:
    Albert Dupontel, “Adieu Les Cons”
    Caroline Vignal, “Antoinette Dans Les Cevennes”
    Emmanuel Mouret, “Les Choses Qu’On Dit, Les Choses Qu’On Fait”
    Filippo Meneghetti & Malysone Bovorashy, “Two Of Us”
    Benoit Delepine & Gustave Kerven, “Effacer L’Historique”

    Best Adapted Screenplay:
    Olivier Assayas, “Cu Ban Network”
    Hannelore Cayre & Jean-Paul Salome, “La Daronne”
    Francois Ozon, “Summer Of 85”
    Stephanie Demoustier, “La Fille Au Bracelet”
    Eric Barbier, “Petit Pays”

    Best Cinematography:
    Alexis Kavyrchine, “Adieu Les Cons”
    Antoine Parouty & Paul Guilhaume, “Adolescentes”
    Simon Beaufils, “Antoinette Dans Les Cevennes”
    Laurent Desmet, “Les Choses Qu’On Dit, Les Choses Qu’On Fait”
    Hichame Alaouie, “Summer Of 85”

    Best Editing:
    Christophe Pinel, “Adieu Les Cons”
    Tina Baz, “Adolescentes”
    Annette Dutertre, “Antoinette Dans Les Cevennes”
    Marital Salomon, “Les Choses Qu’On Dit, Les Choses Qu’On Fait”
    Laure Gardette, “Summer Of 85”

    Best Costume Design:
    Mimi Lempicka, “Adieu Les Cons”
    Madeline Fontaine, “La Bonne Epouse”
    Helene Davoudian, “Les Choses Qu’On Dit, Les Choses Qu’On Fait”
    Anais Romand & Sergio Ballo, “De Gaulle”
    Pascaline Chavanne, “Summer Of 85”

    Best Production Design:
    Carlos Conti, “Adieu Les Cons”
    Thierry Francois, “La Bonne Epouse”
    David Faivre, “Les Choses Qu’On Dit, Les Choses Qu’On Fait”
    Nicolas De Boiscuille, “De Gaulle”
    Benoit Barouh, “Summer Of 85”

    Best Animated Feature:
    “Calamity, Une Enfance De Martha Jane Cannary”, dir: Remi Chaye
    “Josep”, dir: Aurel
    “Petit Vampire”, dir: Joann Sfar

    Best Documentary:
    “Adolescentes”, dir: Sebastien Lifshitz
    “La Cravate”, dir: Etienne Chaillou & Mathias Thery
    “Cyrille Agriculteur, 30 Ans, 20 Vaches, Du Lait, Du Beurre, Des Dettes”, dir: Rodolphe Marconi
    “Histoire D’Un Regard”, dir: Mariana Otero
    “Un Pays Qui Se Tient Sage”, dir: David Du Fresne

    Best First Film:
    “Two Of Us”, dir: Filippo Meneghetti
    “Garcon Chiffon”, dir: Nicolas Maury
    “Cuties”, dir: Maimouna Doucoure
    “Tout Simplement Noir”, dir: Jean-Pascal Zadi
    “Un Divan A Tunis”, dir: Manele Labidi

    Best Score:
    Christophe Julien, “Adieu Les Cons”
    Stephen Warbeck, “DNA”
    Matei Bratescot, “Antoinette Dans Les Cevennes”
    Jean-Benoit Dunckel, “Summer Of 85”
    Rone, “La Nuit Venue”

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    Britney Spears Works on Her Own Documentary but Fears Dad Would Take Control of the Film

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    The ‘Hold It Against Me’ hitmaker is reportedly working on a documentary, ‘said in her own words,’ but the singer is afraid her father Jamie would try to wrestle control out of her hands.

    Feb 11, 2021
    AceShowbiz – Britney Spears has reportedly teamed up with a top female filmmaker to make her own documentary about her life.
    The singer took to Instagram to reassure fans of her wellbeing after the controversial documentary “Framing Britney Spears” aired in the U.S., writing, “Each person has their story and their take on other people’s stories !!!! We all have so many different bright beautiful lives Remember, no matter what we think we know about a person’s life it is nothing compared to the actual person living behind the lens !!!”
    The film documented Britney’s mental health struggles and her conservatorship, after her dad Jamie was placed in charge of her life following her breakdown in 2008, and now sources have told the New York Post’s Page Six that the mother-of-two is in the process of working on her own film, “said in her own words.”

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    “But under her current conservatorship, she fears her father could take control of the film to paint himself in a better light,” an insider told the outlet.
    Britney has been battling to have Jamie removed from her conservatorship, with her boyfriend Sam Asghari labelling her dad a “total d**k,” writing on his Instagram Story, “I won’t be going into details because I’ve always respected our privacy but at the same time I didn’t come to this country to not be able to express my opinion and freedom.”
    However, one person who won’t be weighing in on the scandal is Kevin Federline – Britney’s ex-husband and father of her two sons.
    “Kevin has no involvement with regard to Britney and her attorneys asking to remove Jamie as conservator,” his family lawyer Mark Vincent Kaplan told E! News. “He has no other position to state with regard to the conservatorship.”

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